Telefilm funds Lim’s “The Bryce Lee Story” for $500K

Local Victoria, BC, filmmaker Arnold Lim has just secured $500,000 from Telefilm Canada towards the funding of his second feature film “The Bryce Lee Story“.

Arnold is in Paris currently, preparing as Photography Manager for the Paris Olympics — his fifth! He graciously replied to my questions by email.

Q: Congratulations, Arnold! What’s the log line for “The Bryce Lee Story”?
A: The Bryce Lee Story is the story of a young Asian boy named Bryce Lee, who lies about being related to Bruce Lee in order to fit in at school.

Q: What’s your budget and how much has Telefilm committed?
A: We are aiming for a $1.5-million budget, which will be my first low budget film as a Director after working predominantly in micro-budget filmmaking and Telefilm has committed $500,000 to our project.

Q: Where in the world and when are you filming?
A: I love Vancouver Island and feel my home island is vastly underrepresented on film despite literarily being one of the best places on earth. We plan to shoot most of the film in Greater Victoria and Chemainus. My goal is to shoot here for every film if possible.

Q: What’s the biggest issue you face right now?
A: The biggest challenge is funding! Always funding, but equal to that my biggest issue is probably going to be casting. Finding Asian actors in Canada, especially young Asian actors is very challenging for a lot of reasons: from there not being many opportunities for them to begin with, so there aren’t a ton of opportunities to gain on-set experience and grow as an actor; to the performing arts not necessarily being a focus for some Asian parents as an activity for their children. There are of course exceptions but largely casting is always one of my biggest fears going into any film I make that has an Asian lead.

Q: Are there any locations or props in the script that you know are going to be difficult to find?
A: I am going to be looking for working versions of some 90’s cameras so props and production design are going to be a major challenge because our film is set in the late 90’s ish — but I am also excited by the proposition, and grinding those challenges out with a group of dedicated and like-minded artists is something I am excited about.

Q: Are there any cameo roles and do you have folks in mind?
A: I do have at least one in mind. But I can’t say who it is quite yet. 😉 Sorry!

Q: How does going to the Olympics as Photography Manager impact your time?
A: I am very privileged to have the opportunity to be a part of the Olympic experience, but it is always a time of hyper focus for me because it is such a challenging job. In my opinion the amount of time and energy and love and artistry and passion and gruelling grind necessary is akin to making a feature film and I love the challenge of it, but it is a marathon and takes a lot of time and energy and pulls me away from my family. I really miss my wife and children when I am away.

Q: Is there anything else you’d like to add?
A: I can’t thank Telefilm enough for the opportunity to make a second feature film, but I am also extremely proud of and grateful to the amazing artists on Vancouver Island and in B.C. who work in and support independent film. I have this opportunity because of amazing people like the producer Lynne Lee and many, many other cast and crew, especially on Vancouver Island, who have chosen to work with me and share their passion and artistry even when the prospects of making money are low and the challenges are high. I can’t thank them all enough.

My take: What can’t Arnold do? Next week I’ll look a ways to raise $1M — if you have ideas, let’s hear them!

Telefilm releases annual report for 2022-23

Telefilm Canada has release two annual reports: Full Screen 2022-2023 Annual Report and PROGRAM RESULTS FROM SELF-IDENTIFICATION DATA COLLECTION Fiscal 2022-2023 – First Edition.

Some highlights:

“We guide filmmakers every step of the way: from training and mentoring at the beginning of their journey, to supporting them in development and production, from helping them promote their projects to partners and digital platforms, to supporting them in theatrical and festival releases.”

  • The foreign production and production services sector accounts for approximately 57% of the total volume of screen-based content produced in Canada.
  • Canadian films’ share of screen time in movie theatres: 4.7%.
  • Telefilm administered a total of $158.7 million.
  • Quebec received 47% of total funding.
  • Ontario received 32% of total funding.

From the 2022-2023 self-identification data report:

  • “Telefilm granted 24% ($20 million) of total funding to projects in which one of the key creative positions was held by a person with a disability.”
  • “For producers with disabilities, the representation is at a quarter (25%) in the Talent to Watch Program.”

My take: there’s lots to celebrate in these reports. I just wish we could see more Canadian films on cinema screens in Canada.

Congratulations to the first finalists of Telefilm’s Micro-Budget Production Program

Finally Telefilm is trying something new.

Recognizing that the current system is tilted against up-and-coming talent, last year they announced the Micro-Budget Production Program.

Each of 25 partners across the country nominated one of their recent students or new members for funding to produce their first features.

Eight finalists have just been announced.

“Telefilm will contribute $120,000 in funding per project. Finalists must use this contribution to produce, distribute and promote a feature-length film for release to the general public within 15 months of signature of the Telefilm contract, via one or more distribution platforms, with special emphasis on digital media.”

Congratulations to all and especially to Maureen Bradley of Victoria. In 2008, I worked with Maureen on an application to the NSI’s Features First program for her project Dry.

You can see all the winners here.

My take: I’m extremely excited by this development. I’m looking forward to at least one of these projects becoming a runaway success. Wouldn’t that upset the apple cart!

Rotterdam Lab 2013 Deadline: October 26, 2012

Telefilm Canada is sending three Canadian new or emerging producers to the Rotterdam Lab, January 27-30, 2013.

The three producers will receive accreditation to CineMart and the International Film Festival Rotterdam, as well as five night’s accommodation. You are responsible for your travel arrangements and all other costs.

Eligibility

  1. The Rotterdam Lab is a programme for new and emerging producers. Writers and/or directors cannot take part in the Lab;
  2. You must have produced more than one short film and not more than two (narrative) features in your career;
  3. You must have a feature-length project (narrative) in development suitable for co-production;
  4. You are a Canadian citizen or have landed immigrant status.

See the Call for Entries for more information.

ACE MUNDUS Application Deadline: October 15, 2012

In 2009, the Ateliers du Cinéma Européen opened its doors to non-EU independent producers by launching a new training session that this year will take place from April 1-8, 2013 in Paris, France and in Finland.

Telefilm Canada will facilitate the participation of one English market and one French market producer, covering these costs: tuition, travel from Paris to Finland and back, accommodation and subsistence expenses in Europe. Your Canada/Paris round-trip airfare will be covered by ACE.

To qualify, you must be an experienced independent producer with a fiction feature film currently in development and must have produced, as the main producer, either:

  1. A co-production (international or provincial) theatrically released fiction feature film, OR
  2. Two Canadian fiction feature films that were theatrically released.

The deadline to communicate your interest in applying to ACE MUNDUS is October 15, 2012.

See the Call for Candidates for more information.