Your definitive guide to the phenomenal content created by Canada’s independent media producers
One Big Happy Family
Schitt’s Creek did everything right, and was rewarded with massive success on both sides of the border. On the eve of the show’s final season, nobody is more wistful than the family that created it, whether or not their last name is Levy.
Keep It Short
Short-form series and shedding their stepping-stone status in favour of big-time credibility, but how can creators cut through the noise to build an audience for their show?
Paradise Lost
A true-crime parody that’s a fictional documentary about a feminist cult that goes off the rails. Crave has just released its new original series—and we do mean original.
Nine Things You Should Know About the BANFF Spark Accelerator
It’s an entrepreneur program that we’re really, really passionate about,” says Jenn Kuzmyk, Executive Director, Banff World Media Festival.
Chief Future Officer
Last August, Kelly Wilhelm was named Canada Media Fund’s first-ever chief strategy officer. With extensive experience in the cultural industries and in government policymaking, she shares her vision for the role, the organization, and why she believes this is the right time for the CMF to take a leap forward.
Take Risks, Retain IP and Befriend Zombies
Does everything Catherine Winder touches turn to gold? The Vancouver-based CEO of Wind Sun Sky Entertainment and Skybound North Entertainment has a CV that positively glitters: she’s been an executive at Hanna-Barbera, HBO and Rainmaker; she took the Star Wars brand into animation for Lucasfilm; she produced the Angry Birds films for Finland’s Rovio; she oversaw the production of Ice Age for Fox.
The Incredible Adapting Act
Turning a book, play, short film or series into a film is no easy feat on the best of days. Add in uncertain market conditions, razor-thin budgets and frenzied competition, and you’re left with a situation where only the fittest survive. Adapt or die, the saying goes—and Canadian producers are rising to the challenge.
Taking Telefilm’s Temperature
A year into her term, Telefilm Canada’s executive director Christa Dickenson shares how she’s optimizing Canada’s biggest funding agency—and why she believes homegrown feature film will outlast these turbulent times.
Indie Producers Vote
On October 21, Canadians are heading to the polls. The CMPA is working hard to advocate on behalf of our sector, speaking to candidates and senior political staff associated with the election. At the same time, our members—Canada’s independent producers—are reaching out to candidates across the country, identifying key issues that are important to the production industry. Together, our voice is strong.
Finding True North
Almost 20 years after Atanarjuat: The Fast Runner, Nunavut’s small but mighty cast of producers and directors are telling the stories they want to tell. In the process, they’re building an industry that punches far above its weight
West Side Story
In British Columbia, the production business is booming—really booming. Three-billion-dollars-a-year booming. In fact, in 2017, BC became Canada’s largest centre for film and television production in the country. It’s no secret that many of the projects fuelling this boom are foreign location productions. And while these projects create great jobs and an unsurpassed training ground for BC talent in many different capacities, local writers are often left out.
Northern Lights, Camera, Action!
The history of production in northern Canada stretches back further than you might think. Ever since the early 20th century, filmmakers from Canada and across the world have set up productions in the North, taking advantage of its rich storytelling possibilities and dramatic landscapes.
Blueprint: Studio City
Across Canada, production is riding an all-time high, posting volumes of over $8.3 billion—but a massive uptick in studio-space demand has sometimes meant shortages. Ontario alone has had to turn away as much as $130 million in production activity due to lack of studio space, reports one FilmOntario study. That dollar figure represents over 1,000 jobs. The good news? Film studios across the Greater Toronto Area (and beyond–hello, Ottawa!) are expanding to keep up with demand. By investing further in Toronto’s already stellar infrastructure, these local studios are creating thousands of jobs and will attract millions in production activity every year.
Green Screens
As producers across the country begin to implement more sustainable practices on set and in studio, they’re learning that it’s not just the planet that stands to gain from greener productions
The Next Act
Earlier this year, the CMPA put forward its submission to the Broadcasting and Telecommunications Legislative Review (BTLR) Panel. The core aim of our recommendations to the federal government is simple: support a media industry that advances Canada.
Made in Manitoba
Legal drama Burden of Truth proudly wears its Canadian heart on its sleeve, and is rewarded by success at home and south of the border. Farewell, inferiority complex!
Alberta’s GIFT to the Future
The screen industry needs more women. A new program promises to fill the pipeline.
Producers without Borders
From financing to casting to principal photography, it can be a challenge for any one production company to make a movie on its own—let alone reach a global audience. Time to partner up!
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Hometown Heroes
Canada’s production sector depends on a growing number of partners, but municipal governments and regional film offices ensure success when the camera rolls.
Reel Sovereignty
The Indigenous Screen Office is still taking shape, but director Jesse Wente’s goal is crystal clear: to change Canadian culture.
They Shot a Movie Once in my Hometown
We crunched the numbers on three recent critically acclaimed Canadian films and—well, the numbers speak for themselves.
About Indiescreen
Indiescreen is an essential industry magazine published by the CMPA that explores all aspects of independent production in Canada.
Two print issues are produced per year—look for it at the Toronto International Film Festival in September and the CMPA’s Prime Time in Ottawa conference in February.
For more information about Indiescreen, please contact us at indiescreen@cmpa.ca.
President & CEO: Reynolds Mastin
Editor-in-chief: Andrew Addison
Contributing editor: Kyle O’Byrne
Contributor and copy editor: Lisa Svadjian
Contributors: Arika Jiang, Li Robbins
Editorial intern: Taylor Marshall
Design and layout: FleishmanHillard HighRoad
Additional layout: Character Creative
Download current issue
Indiescreen, winter 2020
Released at the CMPA’s 25th annual Prime Time conference, in the latest issue of Indiescreen we focus on the shows, past and present, that have established Canada as a wellspring of comedic talent. Also included is our extensive production list, which identifies over 300 television and digital series, spanning all genres, recently produced in Canada.
Download the latest issue of Indiescreen→
Past issues
You can download PDF copies of past issues of Indiescreen below.
Fall 2019
Released at the 44th annual Toronto International Film Festival, our latest issue of Indiescreen we outline the ups and downs of adapting content from one medium to another, as well as how Canada’s independent producers are rising to the challenge of adapting to an ever-changing industry. Also included is our extensive production list, which identifies over 300 feature films, spanning all genres, recently produced in Canada.
Download→
Winter 2019
Indiescreen, winter 2019
Released at the CMPA’s annual conference Prime Time in Ottawa, this issue of Indiescreen explores the unique and rapidly growing production sector in Nunavut. We also take an insider’s look at how a group of stakeholders in BC came together to launch the Pacific Screenwriting Program, which aims to create a strong pipeline of home-grown screenwriting talent. Also included is our extensive production list, which identifies nearly 300 TV and digital series, spanning all genres, recently produced in Canada.
Download→
Fall 2018
Indiescreen, fall 2018
It’s all about relationships.
Released at the 2018 Toronto International Film Festival, our issue of Indiescreen highlights the significant role that partnerships and relationships play, not only in the success of a given project, but also in the success of a production company, and even in the success of our national industry as a whole. Also included is our extensive production list, which identifies more than 250 feature films, spanning all genres, recently produced in Canada.
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Winter 2018
Indiescreen, winter 2018
This issue shines a spotlight on nine impressive up-and-coming women who have created opportunities within Canada’s evolving media landscape to tell their own stories, in their own way.
You’ll find exciting perspectives from CMPA members, detailing how they are looking beyond our borders to reach international audiences and thrive in our ever-changing industry.
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Fall 2017
Indiescreen, fall 2017
Did you know that the longest-running film festival in North America is actually based in Canada? It’s true – the Yorkton Film Festival in Yorkton, Saskatchewan was founded in 1947 and continues today exhibiting Canadian and international productions. It stands as a proud example of Canada’s deep film festival history.
This issue of Indiescreen magazine takes an in-depth look at film festivals across the country and underscores the important role that festivals play for filmmakers and audiences alike.
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Winter 2017
Indiescreen, winter 2017
In this special Canada 150 edition of Indiescreen magazine we reflect on what it is that unites 36 million citizens spread across 10 million square kilometers: it’s our stories. Our ability to share stories with one another helps us to define our values and promote ourselves to the world.
We sat down with the Minister of Canadian Heritage Mélanie Joly to learn about her cultural influences and the bright future she envisions for made-in-Canada content. We also chatted with Canada’s preeminent literary icon Margaret Atwoord to discuss the fascinating process of adapting her classic novel Alias Grace for the small screen.
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Fall 2016
Indiescreen, fall 2016
The inaugural film festival issue of Indiescreen magazine takes a look at the growing diversity in Canada’s media production sector, reflecting the unique and varied individuals who make up our great country.
Although much work remains to be done, with our cover story on the rise of Lyriq Bent and his work with producers Sudz Sutherland and Jennifer Holness; our interviews with influential producers Jillianne Reinseth from eOne and Kim Todd from Original Pictures; and our look at the motivations and challenges behind Taken, a series that boldly aims to tell the hard stories of Canada’s missing and murdered Aboriginal women, we can see indications of an industry headed in the right direction.
