Telefilm eyes feature films in Canada

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Telefilm Canada has just published a report on Canadian Movie Consumption – Exploring the Health of Feature Film in Canada.

The study, by ERm Research, provides an “understanding of overall consumption patterns, media sources used by audiences, their decision-making process, genre preferences, barriers to watching more movies, and their theatrical moviegoing habits, as well as perceptions of Canadian content.” The study contacted 2,200 feature film consumers in Canada from September 17 to October 2, 2023.

Three of the report’s findings:

  1. 95% of Canadians aged 18+ have seen one or more feature films in the past year, with nearly three-quarters seeing a movie in theatres.
  2. Paid streaming accounts for 54% of all feature film consumption. Around nine in ten movie consumers use at least one streaming service, with most accessing multiple.
  3. French Canadian movie watchers are more inclined to see Canadian content theatrically and generally have a higher opinion of Canadian films.

Some things that stood out to me:

  1. 55% of the audience on opening nights are under the age of 35 whereas by the second week 50% of the audience is 45 or older. (Page 33.)
  2. Canadian moviegoers see on average only 1.4 feature films annually. (Page 38.)
  3. The top five streamers in Canada are Netflix (67%,) Amazon Prime (50%,) Disney+ (39%,) Crave (21%) and Apple TV+ (12%.) (Page 35.)

You can download the full report here.

My take: not very encouraging. I think we need to take our cue from the Quebecois who see (and like) more Canadian films. Why is that? The obvious answer is that they’re watching French-language films, fare that Hollywood is not producing. A more nuanced answer is that they’re watching films that reflect life in their province. Unfortunately, because Canadian movies have highly limited access to cinema screens in the rest of Canada, Canadians outside of Quebec don’t have that luxury.

Kodak reinvents the Super 8 camera

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Jourdan Aldredge invites us, on No Film School, to Take a Look at the First Footage From the Kodak Super 8 Camera.

“Pulling from our friends at B&H, it looks like their crew featuring Nick and Dave were able to take the new Kodak Super 8 camera through the paces as they ran around New York City.”

Here are timestamps for each section:

  • 0:00 – Main Specs
  • 0:48 – Lenses & LCD Screen
  • 1:52 – Menu System
  • 2:15 – Filmstock, Presets, & FPS
  • 3:12 – Extended Gate & Resolution
  • 3:35 – Sound & Connectivity
  • 4:10 – Who Is This Camera For?

The kicker? Kodak’s new Super-8 camera, based on sixty-year-old technology, costs $5,500 USD.

My take: This is way too expensive for me! And the image still bounces around like crazy. IMHO Kodak missed an opportunity to improve their technology by bypassing the cartridge’s internal pressure plate and figuring out how to stabilize each frame during exposure, kinda like the “true pin registration” that the Logmar GENTOO GS8 does. Pity.

Better Script Notes

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Jason Hellerman, writing for No Film School, explains How to Critique a Screenplay (While Not Being a Dick).

He begins with:

“Screenplay critiques serve many purposes in the screenwriting process. First and foremost, they offer valuable feedback to the writer, identifying strengths and weaknesses in their work. This feedback helps writers refine their scripts, making them more engaging and effective.”

Jason distinguishes the various types of notes:

  1. Coverage: Coverage is a summary and evaluation of a script, typically prepared by a script reader or industry professional. It provides an overview of the script’s strengths and weaknesses and includes a recommendation on whether the script should be considered for further development or production.
  2. Development notes: Development notes focus on the creative aspects of the script, offering suggestions for improving the story, characters, and dialogue. These notes are typically prepared by producers, development executives, or other industry professionals involved in the development process.
  3. Writer-to-writer notes: These notes are provided by fellow writers, offering feedback and suggestions from a writer’s perspective. They can be informal, such as comments exchanged in a writers’ group, or more structured, such as a script swap or feedback session.
  4. Line edits: Line edits focus on the script’s grammar, spelling, and formatting. These notes are typically prepared by a script editor or proofreader and help ensure the script is polished and professional.

Jason provides some best practices for giving feedback:

  1. Read the script thoroughly: To provide meaningful feedback, you need to have a deep understanding of the script. Take the time to read it carefully, and make notes as you go. This will help you identify areas for improvement and provide specific examples when offering feedback.
  2. Focus on the big picture: Before diving into the details, consider the script’s overall structure and story arc. Are there any plot holes or inconsistencies? Are the characters well-developed and engaging? Addressing these fundamental issues should be your priority when giving notes.
  3. Be specific: When offering feedback, provide clear examples and explanations to support your observations. This will help the writer understand your perspective and make it easier for them to address the issues you’ve identified.
  4. Offer actionable suggestions: Instead of simply pointing out problems, provide suggestions for how to improve the script. This will make your feedback more valuable and help the writer feel empowered to make changes.
  5. Be respectful and supportive: Remember that your goal is to help the writer improve their script, not to tear them down. Offer praise for the aspects of the script that work well, and be empathetic and understanding when offering criticism.
  6. Don’t be a dick: Seriously, I don’t know how many times I have to add this in there. Your job is to help. Not hinder.

Jason recommends a critique template that covers:

  1. Story/Plot: Does the story have a clear and compelling arc? Are there any plot holes or inconsistencies?
  2. Characters: Are the characters well-developed and interesting? Do their actions and dialogue feel authentic and consistent with their personalities?
  3. Dialogue: Is the dialogue realistic and engaging? Does it move the story forward or feel extraneous?
  4. Pacing: Is the story paced effectively? Does it feel too slow or rushed at any point?
  5. Structure: Is the screenplay structured effectively? Does it follow the traditional three-act structure or another effective structure for the genre?
  6. Themes: Are there any themes or messages conveyed in the story? Are they effectively communicated?
  7. Tone: Is the tone consistent throughout the screenplay? Does it fit the genre and subject matter?
  8. Setting/World-building: Is the setting or world of the story well-established and believable?
  9. Visuals: Are there any scenes that would be particularly visually striking on screen? Are there any scenes that could be cut or condensed to improve the visual storytelling?
  10. Overall Impression: What is your overall impression of the screenplay? Would you recommend it for production?

My take: When folks ask me to read their work, I always agree and then ask them what they’re looking for. I praise what I love and strive to provide at least a couple of suggestions for improving problematic bits. Hopefully one idea triggers something the writer can run with and make their own.

Norman Jewison 1926-2024

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Acclaimed Canadian film and television director and producer Norman Jewison has died at the age of 97.

He first worked in television in Canada before moving to the US, where he transitioned into motion pictures.

His list of films made over 40 years is staggering:

1962 40 Pounds of Trouble
1963 The Thrill of It All
1964 Send Me No Flowers
1965 The Art of Love
1965 The Cincinnati Kid
1966 The Russians Are Coming, the Russians Are Coming
1967 In the Heat of the Night
1968 The Thomas Crown Affairs
1969 Gaily, Gaily
1971 Fiddler on the Roof
1973 Jesus Christ Superstar
1975 Rollerball
1978 F.I.S.T.
1979 …And Justice for All
1982 Best Friends
1984 A Soldier’s Story
1985 Agnes of God
1987 Moonstruck
1989 In Country
1991 Other People’s Money
1994 Only You
1995 Bogus
1999 The Hurricane
2003 The Statement

His films grossed over half a billion dollars.

Perhaps his crowning achievement though is establishing the Canadian Film Centre in 1986-88. His words of wisdom? “Just find some good stories.”

My take: I think the first Norman Jewison film I remember seeing was The Russians are Coming, The Russians are Coming when it first came out in the mid-sixties. Thank you, Norman.

 

Over 50 Screenwriting Maxims

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Jason Hellerman lists on No Film School — An Exhaustive List of Screenwriting Maxims and Their Definitions!

And here they are:

  1. Show, Don’t Tell
  2. Start Late, Leave Early
  3. Three-Act Structure
  4. Character Arc
  5. Conflict is Key
  6. Save The Cat
  7. Kill Your Darlings
  8. Every Scene Must Serve a Purpose
  9. Subtext is Essential
  10. The Inciting Incident
  11. Plant and Payoff
  12. Write What You Know
  13. Dialogue Should Be Distinctive and Purposeful
  14. The Hero’s Journey
  15. Pacing is Critical
  16. Less is More
  17. The Rule of Three
  18. Chekhov’s Gun
  19. Enter Late, Exit Early
  20. The Magic of Reversals
  21. Obligatory Scene
  22. Emotional Truth
  23. Suspension of Disbelief
  24. The Inner Journey
  25. Setups and Payoffs
  26. Foreshadowing
  27. Write Visually
  28. The All Is Lost Moment
  29. Raise the Stakes
  30. Voice of the Character
  31. Catharsis
  32. Mystery vs. Suspense
  33. The Moral Premise
  34. As You Write, Think and Edit
  35. Dialogue as Subtext
  36. Economy of Characters
  37. The Antagonist’s Strength
  38. Character Consistency
  39. Action Speaks Louder Than Words
  40. The Hook
  41. Scene Transitions
  42. Balance of Dialogue and Action
  43. The Lie Your Character Believes
  44. Escalation
  45. Parallel Storylines
  46. Avoid On-the-Nose Dialogue
  47. The Midpoint Reversal
  48. Theme Embodied in Characters
  49. Visual Metaphors
  50. Use of Silence
  51. Juxtaposition
  52. The False Victory or Defeat
  53. Use of Recurring Motifs.

For explanation, see Jason’s list.

My take: I’ve tried to use every single one at one point or another. 😉

 

Got an old undeveloped roll of film? Who you gonna call?

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Film Rescue International to the rescue!

Joe O’Connor writing for the Financial Post explains How a business in small-town Saskatchewan is exposing lost history.

He states:

“Film Rescue has a global reach — and reputation — with a collection office in the Netherlands and another in northern Montana. Every few weeks, a batch of 200 to 400 rolls of old camera and home movie film appears at the Indian Head office, which is housed in a 125-year-old bank building on the main highway through town.”

That’s Indian Head, Saskatchewan, east of Regina.

“The film rescuers consist of Miller, Gostick and five employees…. One employee, Gerald Freyer, is a European-trained digitization expert. He was beavering away for a German museum when Miller recruited him to move to the Prairies. His latest star acquisition is Heather Harkins, who trained at the renowned Selznick School of Film Preservation in Rochester, N.Y., and was doing contract work for museums and archives throughout North America when she got a cold-call job offer.”

As Film Rescue says on their website: “We are the revealers of lost and found treasurers. Since 1999.”

My take: Ooh! I see they also offer movie film scanning as well.

See every Canadian movie!

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If your New Year’s resolution is to watch more Canadian films, Telefilm has you covered.

Their See It All website will help you discover Canadian movies, new (2023) and old (1973).

You can search the database of over 3,400 by title, by new releases and by streaming platforms.

My take: I wish we could search by director or cast members too!

Super Fast Screenplay Coverage

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Jason Hellerman writes on No Film School that I Got My Black List Script Rated By AI … And This Is What It Scored.

Jason says, “An AI-driven program called Greenlight Coverage gives instant feedback on your script. You just upload it, and the AI software spits coverage back to you. It rates different parts of the script on a scale from 1-10 and then gives a synopsis, positive comments, and notes on what would make it better. The program even creates a cast list and movie comps, allowing you to have an AI question-and-answer session to ask specific questions about the script.”

His script Himbo that was on The Black List in 2022 and rated incredibly high by ScriptShadow scored 6/10 on Greenlight Coverage.

He concludes:

“The truth is, I could see a read like this coming from a human being. Is it the best coverage? No. But as someone who has tested many services out there, I felt it gave better coverage than some paid sites, which are hit-and-miss depending on the person who reads your script. I look at AI as a tool that some writers may decide to use. I was happy I tried this tool, and I honestly was surprised by the feedback of the coverage.”

My take: I also participated in the beta test of Greenlight Coverage and asked the creator Jack Zhang the following questions via email.

Michael Korican: For folks used to buying coverage for their scripts, what are the main features of Greenlight Coverage that set it apart?
Jack Zhang: The speed, accuracy, consistency as well as reliability. Also the ability to ask follow up questions that can provide guidance on how to pitch to investors and financiers, all the way to how to further develop certain characters. In the future, we will also include data from Greenlight Essentials.

MK: Writers sometimes wait weeks if not longer for coverage. How fast is Greenlight Coverage?
JZ: 15 mins to 2 hours when they first upload their screenplay, depending on their subscribed package. The follow up questions are answered instantly.

MK: In your testing of Greenlight Coverage, how have produced Hollywood scripts rated?
JZ: It’s a mixed bag; the universally critically acclaimed ones usually get a very high score 8.5 to 9+, like The Godfather, Shawshank, etc.  The bad ones like The Room got 3/10. It really depends on the screenplay and the film.

MK: Greenlight Coverage uses a neural network expert system; the coverage section is highly structured whereas the question section is open-ended. How is this done and what LLM does Greenlight Coverage use?
JZ: We are using large language models to power our back end and it is not one, but a few different ones as well as our proprietary model that was fine tuned based on industry veteran feedback.

MK: Why should those folks who hate AI give Greenlight Coverage a try for free?
JZ: I totally see where they are coming from and personally I also agree that in such a creative industry, the human touch is 100% needed. This is just a tool to help give quick feedback and an unbiased opinion on the screenplay. It is useful as another input to the script, but not the end all and be all for it.

btw, not to brag but Greenlight Coverage gave my latest script, The Guerrilla Gardeners, 8/10. Wanna produce it?

Netflix releases viewership data for the first time

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Jason Hellerman reports on No Film School that Netflix Releases All Its Streaming Data for the First Time Ever.

He points out that this is a huge story because the “notoriously secretive Netflix has published all its streaming numbers for the public to see” for the first time.

Netflix will publish the What We Watched: A Netflix Engagement Report twice a year.

The report has four columns:

  1. Title, both original and licensed
  2. Whether the title was available globally
  3. The premiere date for any Netflix TV series or film
  4. Hours viewed

Some takeaways:

  • This six month timeframe aggregates 100 billion hours viewed.
  • Over 60% of the titles appeared on Netflix’s weekly Top 10 lists.
  • 30% of all viewing was for non-English content, mainly Korean and Spanish.

Here’s the Netflix media release.

Here’s their six-month 18,000+ row spreadsheet.

My take: the industry has always wanted more transparency from Netflix and I don’t think it’s a coincidence that this report comes on the heels on the writer and actor strikes. I would love to see someone take this information and cross-reference it with genres, formats and actors. Will other streamers follow with their data?

Now and Then: how the short doc started with audio interviews

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Rosie Hilder writes on Creative Bloq all about How Oliver Murray made the 12-minute Now and Then, Last Beatles Song documentary.

Oliver Murray says,

“First of all, the most important thing for me was that it felt fresh and contemporary, so we started out by recording new audio interviews with the surviving members of the band, Sean Ono Lennon and Peter Jackson. It was important to record only audio because that’s my favourite way of getting intimate and conversational interview content.”

He adds,

“I took these interviews into the edit and made a kind of podcast cut of the story, which became our foundation for the timeline…. Interviews are always a big part of my process, and are where I start because more often than not the answers that you get to questions lead you somewhere you didn’t expect and change the course of the project, so I like to do those early. It’s always useful to start with audio because it’s also the most malleable and it’s possible to go back for pick up interviews. Archive footage or access (with a camera) to the people you’re talking to actually doing what they’re talking about is much harder to acquire.”

Rosie asks him, “What is your favourite part of the finished film?”

Oliver replies: The emotional climax of the film is definitely the moment where we get to hear John’s isolated vocal for the first time. It’s quite an emotional moment to hear him emerge from that scratchy demo.

My take: this confirms that sound is more important than picture, to me. I think it would have been nice to have the dates displayed on each film clip used because there are a lot, and they bounce around in time, from now and then.