BANFF Spark provides market access, training, and networking opportunities to help build more Canadian women-owned media businesses.
“Since the program began in 2019, BANFF Spark has already provided opportunities for more than 200 women entrepreneurs. The program is open to all candidates and is designed to empower women of colour, Indigenous women, women with disabilities, 2SLGBTQI+ women, and non-binary individuals.”
All selected participants will receive:
Online workshops (that address the core components of business development).
Networking opportunities with top industry professionals.
A full-access pass to the 2025 Banff World Media Festival (June 8-11, 2025) and its complement of top industry sessions and international marketplace.
A $1500 CAD travel stipend to attend the 2025 Banff World Media Festival
(on the condition of in-person Festival attendance).
He begins, “This morning, a really lovely NFS reader reached out to me and wanted my opinion on a program called ScriptReader.AI, which charges $10 for a complete screenplay breakdown.”
He uploads one of his scripts and in two hours gets extensive coverage. It appears the AI’s method is to rate each scene and then average the scores. His script gets a “Recommend.”
However, Jason is not impressed. He concludes:
“Computers cannot think and feel. They have zero sense of nuance. And you cannot take their coverage seriously. No matter how nice it is. AI coverage is worthless!”
My take: the ScriptReader.ai website woefully undersells its capabilities. It certainly looks sketchy. But you can test out three scenes for free.
And then there’s a link in the top right corner of the website labelled “SHALL WE PLAY A GAME?_” I recognized this as a reference to WarGames in which Matthew Broderick unwittingly provokes WWIII.
With some trepidation, I clicked on the link.
This brought me to a page titled “SceneProv_” with two modes, Fun and Training.
I decided to have some fun and generate a scene for a RomCom. The AI, suddenly my writing partner, set the scene and populated it with two characters. My interactions are bolded.
“Genre selected: romance
INT. COFFEE SHOP – DAY
JEN sits at a table with a book, sipping on her latte. She notices AIDEN walk in and their eyes meet.
JEN:
(smiling)
Hey!
AIDEN:
(nervously)
Hi! Can I sit here?
JEN:
(surprised)
Uh, sure!
AIDEN sits across from Jen and they strike up a conversation.
AIDEN: I noticed you’re reading “Do Androids Dream of Sheep?”.
JEN: Yup. It’s my favourite book.
Her eyes glitch.
AIDEN: Do you want to go back to my place?
JEN:
(surprised)
Excuse me?
AIDEN:
(smiling)
Not like that. I have a first edition copy of that book. I’d love to show it to you.
JEN:
(relieved)
Oh, sure. That sounds great.
INT. AIDEN’S PLACE – NIGHT
Aiden and Jen are sitting on the couch, looking at the first edition. Her eyes glitch again.
AIDEN Jen, why do your eyes “glitch?”
JEN What do you mean?
AIDEN Well, every once in a while they kinda spark.
Are you hiding something from me?
Jen looks at Aiden angrily and stands up quickly.
JEN:
(angrily)
No, I’m not hiding anything! It’s just a glitch in my synthetic retinas. I’m an android.
AIDEN:
(surprised)
An android? I had no idea.
JEN:
(sadly)
I know, it’s not exactly a desirable trait in the dating world.
AIDEN:
(smiling)
Well, I’m not like most guys. I think it’s pretty cool, to be honest.
Jen’s eyes glitch again, this time in surprise.
JEN:
(surprised)
Really?
AIDEN:
(nodding)
Really. Plus, I always thought I’d make a great cyborg myself.
Jen smiles and takes Aiden’s hand, feeling grateful for the first time to have found someone who accepts her for who she really is.
They continue to look at the book, their fingers touching.
Aiden turns to Jen, looking into her eyes.
AIDEN:
(softly)
You know, I may not be able to dream like you do, but
I have a feeling this is the beginning of something special.
JEN:
(smiling)
I have that feeling, too.
They lean in and share a kiss, the start of their unconventional love story.”
And then it rated “our” scene a B+. This AI passes the Turing Test for sure.
“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:
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.
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.
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.
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:
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.
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.
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.
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.
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.
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:
Story/Plot: Does the story have a clear and compelling arc? Are there any plot holes or inconsistencies?
Characters: Are the characters well-developed and interesting? Do their actions and dialogue feel authentic and consistent with their personalities?
Dialogue: Is the dialogue realistic and engaging? Does it move the story forward or feel extraneous?
Pacing: Is the story paced effectively? Does it feel too slow or rushed at any point?
Structure: Is the screenplay structured effectively? Does it follow the traditional three-act structure or another effective structure for the genre?
Themes: Are there any themes or messages conveyed in the story? Are they effectively communicated?
Tone: Is the tone consistent throughout the screenplay? Does it fit the genre and subject matter?
Setting/World-building: Is the setting or world of the story well-established and believable?
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?
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.
He starts by pointing out: “Every TV show that’s on the air was an idea in someone’s head at one point. and then, it was a pitch that they delivered.”
His suggestions, in a nutshell?
Have a clear vision.
Write a compelling logline.
Write a synopsis.
Develop memorable characters.
Practice your pitch.
Incorporate feedback.
He closes with:
“By focusing on comprehensive coverage, crafting a compelling logline and synopsis, developing memorable characters, creating a strong visual presentation, and utilizing feedback for improvement, you can create a pitch that stands out from the competition and captures the attention of network executives.”
My take: This is great advice, and well worth the read!
Chris has worked in the film and television industry for almost thirty years as a Creative Producer and has shepherded over two dozen projects, including Good Will Hunting, American Pie, Project Greenlight and Manchester by the Sea.
He begins with:
“The nature of the creative producer’s job doesn’t allow a lot of time to stop and ask questions about the changing industry around us. However, over the past few years, I’ve given myself some time to reflect. Between MANCHESTER BY THE SEA being released by Amazon, and the world shutting down due to a pandemic, it became clear that the job I have now isn’t the one I had when I started back in 1994.”
He continues:
“Many producers of my generation had a business plan for our careers. For me, it was directly dependent on the success of each individual film. Not long ago, profit in the film industry was based on a hit-driven business model. If a lot of people bought tickets to see a film in theaters, rented the DVD, or paid for a digital download, it sometimes made a profit, and was considered a hit. At the time, producing a box office hit led to an easier time getting your next project made and usually with a bigger budget.”
More on the good old days:
“The 1980s through the 2010s was a great time to be a creative producer. Put deals together, own the library of content, and make big money. I came into Hollywood when this was just exploding, and at the same time, foreign markets were opening up, home video was becoming much bigger with the release of DVDs, and cable allowed for many more channels for a piece of content to reach audiences. In comes windowing, in comes licensing, in comes new markets for content. Speculation became a new business model worth pursuing if a creative producer had the stomach for it; there were new buyers and talent looking for content, and all were free agents. It was awesome.“
Then he arrives at the crux of the issue:
“Unfortunately, the hit-driven business model I built a career around is not the reality of the industry we are living in today, and I can finally admit that we are not going back to the way it was. I realized I hadn’t acknowledged how much things had changed. Today, there is a very small speculative market compared to the 1990s and early 2000s, and large companies are no longer driven by the profit of each individual film. The current subscription-based business model removes the opportunity to create a hit. In this new model for storytelling, volume is more important than quality.“
He then list the shortcoming of the streaming model in detail, concluding with possible strategies:
“Become an executive. Choose a specific genre. Choose talent to work with. Work inside a production company or become a manager/producer. Work for a non-profit. Take on a larger company’s liability. Or accept that the old version of a creative producer is now a hobby.”
He firmly believes: “We have to be honest with the next generation that the system we are all in right now is not working nor does it offer the life you might have been promised in film school.”
His final rallying cry:
“All of this soul searching has led me to the simpler solution which is creative producers need to become part of something bigger than themselves and their projects. Rather than wait around and see if the industry is going to make room for us again, we must take matters into our own hands and find the thing that replaces the hit-driven model. If we want sustainability, we have to create a new business model that works within this new era of Hollywood.“
My take: a lot of people blame new economic realities when their job disappears. Chris Moore, however, argues that streamers have distorted the free market because it is now impossible to use the box office to measure success (other than for blockbusters and who cares about them.) Perhaps we need a new Streaming Decree that splits production from distribution once again?
Currently there are links to these scripts, with more being added weekly
All The Old Knives (Amazon Studios)
Amsterdam (20th Century Studios)
Argentina, 1985 (Amazon Studios)
Armageddon Time (Focus Features)
The Banshees of Inisherin (Searchlight Pictures)
The Batman (Warner Bros.)
Bones and All (United Artists)
Catherine Called Birdy (Amazon Studios)
Emergency (Amazon Studios)
Empire of Light (Searchlight Pictures)
The Fabelmans (Universal Pictures)
Glass Onion: A Knives Out Mystery (Netflix)
The Good Nurse (Netflix)
Lady Chatterly’s Lover (Netflix)
Living (Sony Classics)
Master (Amazon Studios)
The Menu (Searchlight Pictures)
My Policeman (Amazon Studios)
Nanny (Amazon Studios)
Nope (Universal Pictures)
The Northman (Focus Features)
Pinocchio (Netflix)
She Said (Universal Studios)
The Son (Sony Classics)
Tár (Focus Features)
Thirteen Lives (Amazon Studios)
Three Thousand Years of Longing (United Artists)
Till (United Artists)
White Noise (Netflix)
The Woman King (TriStar Pictures)
Women Talking (United Artists)
Scott says:
“Reading movie screenplays is critical to your development as a screenwriter. Along with watching movies and writing pages, it is a fundamental practice you should put into place. Make it a goal to read at least one movie script per week.”
My take: I will be doing a scene-by-scene breakdown of “Glass Onion.” I’ve done “Palm Springs” previously and can attest that the exercise is very valuable. For bonus insight, I also compare the script with the film and note where extensive changes have been made. So interesting!
The goal of the Canada-France Series Lab is to encourage and facilitate the development of new relationships between Canadian and French producers and fostering the development of projects with strong international potential in a competitive environment and create new co-production opportunities.
“The Canada-France Series Lab will be a year-long initiative starting at Series Mania Forum 2023 and ending at the 2024 event. A selection of 15 producers from each country will be invited to participate in Series Mania Forum 2023 to meet their French/Canadian counterparts and form pairs. Four to five projects presented by these pairs will be selected by a jury of experts and invited to participate in a series of professional workshops. The first workshop will be held in person at the BANFF World Media Festival in June 2023. It will be followed by a virtual coaching cycle from September 2023 to March 2024. The program will end at the 2024 edition of the Series Mania Forum with the projects’ presentation to potential international financiers.”
My take: Parlez-vous français? Do you have an idea for a series with strong connections between France and Canada? Something set in the colonial past perhaps? Maybe something set on Saint Pierre and Miquelon, the tiny bit of France directly off Newfoundland? This seems like a fantastic opportunity for series producers looking to build bridges to France, and through it, Europe.
JETS will unite first, second and third feature film filmmakers with Canadian, German, Irish, Norwegian, Austrian, British, South African, and US producers, sales agents, finance and distribution companies during a day of pitching and networking sessions with the aim of encouraging co-production.
Producer/director teams can submit fictional film projects (features of duration of minimum 80 minutes; animation also eligible) that are still in the development or financing stages.
