Israel’s Armoza International Media and Toronto-based series producer WestWind Pictures will meet with potential partners during MIPTV in Cannes this week.
The agreement also secures 9 Story a first look at future CCI-produced or acquired kids and family programming, while both indie producers will work together on new projects (CCI’s Harry and His Bucketful of Dinosaurs pictured).
The partners will develop Mysticons, about four regular kids called into action to double as superheros.
Jennifer Dettman and Gaye McDonald (pictured at BCON Expo, right and centre, respectively) explain what indie producers should keep in mind when pitching for the new initiative.
Multiple award winners include Ruby Skye P.I. (pictured), Out With Dad, Guidestones and The Casting Room.
The creator and showrunner of Netflix’s House of Cards talks about the show’s writers’ room, and the process of adapting material for different mediums.
Timed to coincide with the Toronto International Film Festival, the co-production forum uses global players gathered at the prestigious event to forge relationships and possible co-productions between producer partners.
The U.S.-based specialty has commissioned two new crime doc series from the Montreal-based prodco, and given a season two greenlight to its Fatal Vows series (pictured).
This week’s news includes notice that Z Films’ documentary We are Here (pictured) has wrapped, and the DGC’s Quebec Council has new board members.
Programming on the new Blue Ant Media channel will range from DIY and decor to life in the great outdoors.
Toronto-based Spinning Plates Entertainment will produce a local version of the format, which has also been produced for Australia (pictured) and the U.K.
French actor Jean Reno and Toni Collette join the ensemble cast that includes Simon Pegg as a London psychiatrist in crisis.
Both Vancouver-based producers will continue to make TV shows under their separate brands, while their combined forces aims to better serve broadcast partners.
“I want to create a genuine business model that creates a profit. There isn’t enough (fund) money to make it sustainable,” the Toronto filmmaker tells Playback about lining up sponsors for next-generation storytelling.