2016 From Our Dark Side Winner Gada Jane’s Tips on Attending Frontières the Second Time Around

The Frontières Co-Productions Market is a small and very friendly genre film market that takes place in Montreal as part of the Fantasia Film Festival. I’ve attended for the past two years, first as one of the 2016 winners of the WIFTV From Our Dark Side Genre Concept Competition and then to pitch my film, Tricks, as part of the Directed by Women program. 20171024_153135

The market is designed to enable connections that facilitate genre film financing and North American-European Co-Productions. A number of successful projects have come through the pitching program including RAW,TURBO KID, LES AFFAMÉS, and the documentary 78/52 which have screened at various 3festivals including TIFF, Sundance, and Cannes.

At Frontières, the morning of the first day is devoted to pitches. Each project has 8 minutes to pitch to an audience of financiers, sales agents, producers, production companies, distributors and other types of film humans. After this, there are lots of meetings. As part of the Directed by Women section for projects in early stages, I pitched along with this year’s From Our Dark Side winners at a smaller pitch session the next day and then we began our meetings.

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L – R – Samantha Loney, Melanie Jones, Mariel Scammell, & Gada Jane

The market is set up really nicely to be a frame for meeting people. This means your experience will depend a lot on what are looking for and whom you meet. Pitching projects are set up with their own tables where they have a whole series of 20-minute meetings. There are also lounges in the building,  restaurants, and coffee shops nearby where you can have more meetings. Also, everyday there is a cocktail party where you can continue to meet people and then people usually gather at the Irish Embassy.

Frontières is a remarkably pleasant film market. The people who run it work hard, are very helpful, and set a quite delightful tone for the event. It’s relaxed. It’s Canadian. It’s genre. This all comes together to mean that Frontières is mostly full of people who just want to make cool things. Not everyone has the same definitions of cool or fun or worthwhile or even marketable, but it’s a great place to go to find people who share yours.

By: Gada Jane

If you would like to find out more information on the From Our Dark Side Genre Concept Competition click here.

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From Our Dark Side Winner, Bridget Canning, Talks about Projects and Pitching at the 2017 Frontières Market

Less than a week after the 2017 Frontières International Co-Production Market in June, Bridget Canning was listed on IndieWires “The Best Horror Films Yet to Be Made” List. Here is what she had to say about her time at Frontières.

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Frontières was amazing. I left feeling much more confident in my ability as a writer and storyteller and with more “tools” for getting my work out there. Pitching was nerve-wracking, but overall, the experience was worth it – especially as the pitch session worked as an ice-breaker for meetings. Many meetings went from discussing my project to talking about stories themselves; it was great to get to the heart of why people work in film.  I left Frontières with many contacts I feel would be a pleasure to collaborate with.

If I was to do it again, I think I would spend more time researching participants to get a closer “fit” as to what we are both looking for. And I would gladly do it again.

        — Bridget Canning; Author

To find out more about the From Our Dark Side Genre Concept Competition click here.

Samantha Loney, From Our Dark Side Winner, Dishes about the Highlights (and more) of the 2017 Frontières Market

We asked Samantha Loney some questions about taking her project Married to Murder to the 2017 Frontières International Co-production Market and Networking Platform and here is what she had to say. 

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What were your Top 3 Highlights from your time at the Frontières Market? 

1 – Seeing a rough cut scene from George A. Romero’s Road of the Dead!!!

2 – Getting the chance to pitch my project alongside some amazing ladies and be berated in front of an audience by an amazing group of judges. Was a great learning experience.

3 – The Femme Fatales ladies only gathering was amazing. It was a safe space to discuss our period cramps, and how to overthrow the patriarchy. Stay tuned world.

What was one of the lessons learned through the experience?

Grey Nuns Residence is a great place to stay because you’re a block away from all the events at Frontières, but is it worth it when you have to lay awake at night dressed in nothing but your own stank? For lazy people like me yes, but warning to future participants Grey Nuns has no air conditioning.

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If you had to pick only one, tell us about your favourite moment.

The farewell dinner. After spending four days of talking we got to eat some amazing food, and dance away all the calories from the wine we had consumed all week.

What impact do you feel being at Frontières Market had on your project?

I’ve made quite a few connections, and have been in talks with a director, which I hope works out well so we can take Married to Murder back to Frontières next year to beg for some money on the big stage!

 

Lindsay Peters Explains How The From Our Dark Side Winners Got To Pitch Their Projects At This Year’s Frontières Market

When this year’s From Our Dark Side Genre Concept Competition winners were announced, the five recipients knew that the accelerator program included a trip to the Frontières Co-Production Market in Montreal. What they did not know is that this year they would have the amazing opportunity to pitch their projects at the first ever Directed by Women pitch sessions at Frontières.

Frontières, organized by Fantasia International Film Festival, is a co-production market that provides a launch point for both established and emerging genre auteurs to get their films made through pitching opportunities and networking events. WIFTV had the pleasure of speaking with Lindsay Peters, the Market Director at Frontières, about how this unique opportunity came about and what she sees for future.

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Lindsay Peters – Market Director at Frontières Market

WIFTV: How long have you been working with Frontières?

Lindsay: I have worked on Frontières since its beginning. It began in 2012 and I took over as director in 2014, so it has been for the last 3 years.

W: And this was the first year that Frontières had the Directed By Women pitch sessions?

L: We have had this really nice collaboration with Women in Film & Television Vancouver and the From Our Dark Side since its beginning, where part of the winner’s prize package was Frontières accreditation. For a while, we have been wanting to create a real official space for female-driven projects because we are still not receiving as many female directed projects in our general call as I would like to be seeing. So the idea for creating the Directed By Women sessions was to maybe provide some support for projects and filmmakers at an earlier stage than what we ask for in our main call for projects. For the Frontières Market, we ask that projects be in late development, early financing, and that they have a producer onboard and the script is more or less complete. The idea for Directed by Women came about as a half pitch session, half incubator for female filmmakers and screenwriters.    

W: In the last few years, many of the funding agencies such as Telefilm and the Canadian Media Fund, having committed to gender parity through a variety of measures. Did this play a role in the development of this Directed by Women program or has it always been an initiative to get more women in? I did notice that your team is mostly women.

L: We joke about that a lot actually, we are up to three [men on our team] this year and we felt very progressive about that [laughter]. But no, it is always something that has been a real priority for us. For our main selection process, we have not overtly set out to have more diversity in our lineup. We do just try to make sure that the best projects make it in, and two years ago it just so happened that we have a lot of female-driven projects and a lot of projects from visible minorities and that was completely by chance. Which was fantastic and people really noticed and responded to it. It wasn’t really something we advertised, it was just in our opening pitch sessions where people saw this and they started tweeting about it, it was great. But I realized it was really difficult to recreate that naturally. It has always been something that has been a big priority for us and it seems like good timing this year with Telefilms 50/50 initiative.

I also think that it is so early on that we haven’t quite seen exactly how they plan to accomplish that. There is still the question of whether the original problem with the lack of female-driven projects came from them not receiving enough submissions from women or whether they were not approving enough female-driven projects. That was the thinking for an earlier stage section, to help some of these women find the partners needed to get them to the telefilm financing stage.

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Directed By Women Pitch Sessions at Frontières Market

W: Great! You mentioned the huge response to Directed by Women, who is this response coming from?

L: The people attending and the producers. I think that they liked that there was a change in format as to how the projects were pitched. It was a little more aligned with the early stages of the projects. Directed by Women were at the treatment or early draft script stage, and pitched by the director or screenwriter, and pretty much all of our pitchers were early on in their careers.   


W: Do you have a plan on how the Directed By Women will continue to grow at Frontières?

L: We would really like to have Directed by Women pitch sessions next year. It really went over so great. We had such a huge response to it. Our focus is small, I think having seven projects pitching this year was the right amount. At Frontières we aim to keep things a little bit intimate. We grow a little bit every year but we would really love to continue working with WIFTV and From Our Dark Side.
Words by Kaitlen Arundale

From Our Dark Side Winner, Elle Wild, Shares Her Experience at the 2017 Frontières Market

 

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Elle Wild – Strange Things Done

 

What an exceptional experience FRONTIÈRES is for new filmmakers! First and foremost, it was great to catch up with my fellow Dark Siders and see their projects flourishing. Initially, when we found out that we were winners in Women in Film’s “From Our Dark Side” genre writing contest, we knew we’d be attending FRONTIÈRES, but we weren’t expecting the opportunity to pitch there. Later, the Dark Side gals were invited to pitch as part of Fantasia – and a new focus on women filmmakers – in front of a panel of industry experts. I confess that I wasn’t sure how this would go when I packed up my shiny new promo materials (thanks designer Sara Bailey and WIFTV!) and copies of my novel, Strange Things Done, and boarded a plane for Montreal. Strange_Poster_FInal

When we arrived, however, we received such a warm welcome that I immediately felt very much at ease. Also, we had a full day to observe other pitches and relax before our own presentations, so that by the time it was my turn to take the mic, I felt well-prepared.  I think it’s fair to say that we were all a bit trepidatious about what the panel’s comments might be, but I found them to be supportive and insightful. I also thought it was helpful that, when you were booked in a 20-minute meeting with producers, many of them

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Elle Wild and Mariel Scammell, 2017 F.O.D.S. Winners

had already heard the pitch, so you could get down to details. Finally, I loved that FRONTIÈRES offered writers their own table (conveniently close to caffeine) in a collective meeting room, so that instead of scurrying from place to place to pitch your project, all you had to do was show up. I think this helped to emphasize that writers are not beggars at the filmmaking feast, but are an important guest at the table, and I appreciated the gesture. 

 

 

Did I mention that our schedules were absolutely packed with producer meetings? Plus, Montreal! Quelle ville spectaculaire!

Thank you Women in Film, Dark Side sponsors, and FRONTIERS!

-Elle Wild, Filmmaker/NovelistIMG_0739

Meet Story Editor and #FromOurDarkSide Consultant Lesley Krueger

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Lesley Krueger is a screenwriter and novelist, raised in Vancouver and now living in Toronto. As a filmmaker, she has written everything from Hollywood movies through international co-pros to tiny-budget short films, script-doctoring Silent Hill from director Christophe Gans, writing the award-winning short How to Keep Your Day Job from director Sean Frewer, and story editing features like writer/director Karen Lam‘s horror film, Stained. Lesley is the author of six books. Her new novel is Mad Richard, which the Globe and Mail calls “alive with wit and rebellion.” She works as a screenwriting mentor at the Canadian Film Centre in Toronto. In 2015 Lesley mentored From Our Dark Side winner Gloria Ui Young Kim on her story Deception, in 2016 she worked with Jennifer Krukowski, and she joined again for Season 3 to consult with Samantha Loney on her project Married to Murder.  Continue reading

Meet Story Editor and #FromOurDarkSide Consultant Sara Snow

Sara SnowSara Snow is a Gemini and Leo award-winning writer who has worked on drama, comedy, youth, and sci-fi series, including stints as writer/producer on Arctic Air, head writer on season 1 of Mr. D., and a season as show runner of Degrassi: The Next Generation. She has story-edited features and short films, including work by Karen Lam and Sharon Lewis and is currently developing a dystopian sci-fi series with award-winning graphic novelist David Robertson and a comedy series with filmmaker/actor Michael Seater. Sara is particularly interested in adaptation, as well as thrillers, dystopian and supernatural stories, and dark comedy projects.

Sara worked with 2015 From Our Dark Side winner Shereen Jerrett, in 2016 she worked with Ana de Lara, and she joined the mentor pool again for Season 3 to consult with Elle Wild on her project Strange Things Done.  Continue reading

Meet Story Editor and #FromOurDarkSide Consultant Carrie Gadsby

Carrie GadsbyCarrie Gadsby is a Vancouver-based story editor and analyst for feature film, who has lived in Los Angeles, where she worked in development for Oliver Stone. A freelancer, Carrie has also worked extensively with Telefilm Canada and Super Channel.

Working collaboratively and intimately with writers has always been her true passion, says Gadsby in a recent e-interview. Most recently, she was involved in the book adaptation of The Dwelling with Robert Cuffley, and as story editor for WIFTV member Suzanne Crocker’s multiple award winning documentary All The Time In The World. Continue reading