Positioning itself squarely between academic institutions and film producers, the National Film Board has developed a lineup of initiatives that puts young filmmakers in the director’s chair.

‘The great strength of the film board is that we can do things that the private sector can’t do,’ says Tom Perlmutter, NFB head and government film commissioner.

‘We’re distinct from the school system,’ he continues. ‘We make short films with emerging filmmakers so they can learn the full cycle of production. They’re surrounded with the best professional crews and top post-production teams. They can learn the craft – how to tell stories with real characters – in very engaged ways.’

The NFB has also recently created educational programs in partnership with film schools, broadcasters, cinematheques and other public agencies, and is evolving in unique ways in production centers across the country.

In Montreal, NFB animation producer Michael Fukushima and the studio’s executive producer David Verrall created the Hothouse series in 2003. Working with a budget of $160,000 for the entire project, he produced six films with neophyte animators in 12 weeks.

‘We forced young filmmakers and art students coming out of schools – and even the NFB – to rethink how our films could be made,’ comments Fukushima.

‘It was a painful process,’ he admits wryly. But the results were so successful that Hothouse has become a staple of the animation program.

‘Two out of six films each year make it onto the festival circuit,’ says Fukushima, who points to Rachel Peters, Kevin Langdale and Howie Shia as three alumni who have gone on to become professional animators.

The French side of its Montreal head office (known as l’ONF or Office national du film du Canada), has begun to work with INIS (Institut national de l’image et du son) and UQAM (Université du Québec à Montreal) in offering post-production facilities, trained technicians and access to the board’s extensive archives to senior students.

‘Everything went well,’ with the first collaborations, according to ONF producer Pierre Lapointe. ‘The presence of those young filmmakers in our walls is refreshing. Students are thrilled to work with top-notch equipment.’

Silva Basmajian, the NFB Ontario Centre’s executive producer, is also committed to working with youth.

‘We want to give young filmmakers the moral and emotional support that can help them – or practical advice that may make a difference in their careers,’ says Basmajian, pointing to three programs in which upcoming documentary filmmakers actually make movies.

Calling Card is an ongoing joint project for neophyte documentary filmmakers between the NFB and TVO – its biggest success story is Hardwood (nominated for an Academy Award). Momentum is a mentoring program for documentary filmmakers (currently being redefined) and Reel Diversity gives precedence to emerging directors of color.

In the Prairies, NFB executive producer Derek Mazur candidly states, ‘We’re changing people’s lives. I’ve seen it.’

Ervin Chartrand, a Métis and former leader of a gang, renounced his old life and made a film for the NFB’s First Stories project. Chartrand directed Patrick Ross, a brilliant portrait of another former gang member who has now taken up painting to express himself.

Mazur is also in the midst of producing four animated shorts made by natives of Nunavut.

Thirty years ago, the NFB sent animators to that area to make films. When Mazur’s crew arrived, one elder remarked, ‘We were wondering when you’d come back.’

In the Yukon, NFB executive producer Tracey Friesen has been working on Our World, a digital storytelling initiative. At home, in Vancouver, she partnered with the Pacific Cinematheque on ‘open I,’ which trained youth with disabilities to make films.

Opening doors for diverse Canadian voices is ‘what drives all of this,’ according to Perlmutter. ‘It’s important for the creators, but it’s even more important for us as a country.’