Episode Transcript
[00:00:00] Speaker A: Hello and welcome to Storyteller in depth, a podcast where we go behind the scenes to learn more about the school of communications, meet arts and designs, people, places and things. I'm your host, Pat Quigley. On today's episode, we have Samantha McAdam. A 2006 graduate of our broadcasting program, Samantha has been making waves in the film industry as a multi award winning writer and director. She has worked on numerous projects and is currently nominated for a Canadian Screen Award for best direction on a tv movie for fashionably in Love. Her directorial comedic debut, Prom Night, premiered at just four laughs. She was named by Playback as one to watch and was in the 2022 Directors program cohort, a program supported by Warner Bros. Discovery and administered by the Academy of Canadian Cinema and Television. She has also had so much more she's achieved in between all that. She has worked with several famous actors, has directed and wrote commercials for the Junos, has explored several genres, including comedy and horror, and definitely has a wealth of experience in this episode, Samantha will take you through her experience in this industry, things you might not know or expect about directing, advice to directors just starting out and so much more. So without further ado, let's jump into the episode.
[00:01:19] Speaker B: Thank you so much, Samantha, for being on the podcast today.
[00:01:22] Speaker C: Well, thank you for having me.
[00:01:24] Speaker B: So, to start off, can you share a little bit about yourself and what initially sparked your interest in the industry?
[00:01:31] Speaker C: Yes, it's a pretty boring story, so I feel like everybody is like this, but I was just, like, an extreme movie lover and my mother called me a tv addict. And that was accurate. No, I just. I love movies and films. I mean, a little bit deeper than that. You know, growing up, like most kids, I've had some issues and things I was working through, and I was very quiet and shy and honestly, movies kind of became my friends and also my therapy, especially in the nineties, because therapy wasn't really, like a widely known thing. So I just got kind of super obsessed that way at a young age. And I did always want to be involved, but I didn't know how.
[00:02:15] Speaker B: So what were you obsessed in? Like, what were the movies and tv shows that had your interest?
[00:02:19] Speaker C: Yeah, the movies that I'm pursuing now as a director, like the same kind of escapism. Movies like I love the karate kid and the Goonies. I have it on my wall as an adult, a picture of it. Labyrinth, the John Hughes stuff.
Those were the big ones. But I also love, you know, stand by me jaws. Although that, like, legitimately still has. Does keep me out of the water, even now, you know, as an adult. But yeah, I kind of like the bigger, the bigger commercial films. I was always drawn to them. And for me, I love underdog stories. I love back to the future, anything kind of exciting. And, yeah, that just gives you a good big break from your everyday life.
[00:03:03] Speaker B: So you're doing a bit of directing and working on sets. What's some of your favorite part about that?
[00:03:08] Speaker C: About directing?
Gosh, you know what, I honestly, like, love so many parts of it. Like, surprisingly, I would have thought, I would say being on set. I do like being on set, but so much of crafting the story happens in prep.
So I almost feel like I actually kind of prefer prep because it's kind of like the most playful stage where you can look at the story and imagine, you know, how you're going to bring it to screen and, you know, think about the cast you want to bring in and, you know, it's like the beginning of being able to create this, you know, amazing world. And, yeah, there's not a lot of pressure I feel at that point personally.
And my thing is I always just lean into what I really like and what I'm passionate about. And so far it seems that when I do that, other people are also interested in it. So prep is probably honestly the most, the part that I love the most, and then a close second is set, being on set.
[00:04:11] Speaker B: So there's probably a lot of people who might be listening to the podcast right now and what, what's something that they might not expect about directing and would be surprised to know?
[00:04:22] Speaker C: Well, for me, what shocked me the most was how, like, set time is like a very small, not a small part of it, but I always thought directing, you're on set. Yes, that's, that's directing, you know, but it's just a big part of it. But it's not the. I don't even feel like it's the main part. Again, I feel like it's prep is probably the main part and.
Or it is sliced. Yeah, I'd say prep is the biggest part and then being on set and then post. But the biggest surprise for me is how much directing work happens before you reach the set.
For me, I always just, you know, whenever I was trying to be involved in the early years, I was an actor, I was an extra in movies. And I also thought directing kind of started. Yeah. When you went to the set magically. But, yeah, my biggest surprise was to see how much of it starts so many months before. Yeah.
[00:05:15] Speaker B: So let's dive a little bit more into that and talk about the pre production side of things. What are some of the things you do prior to approaching a project?
[00:05:24] Speaker C: So what was one of the things.
[00:05:25] Speaker B: That I do prior to approaching a project?
[00:05:28] Speaker C: Prior to approaching a project? Yeah, so it depends on the project, but for the most part, like, so I guess the best part to say is, like, when I get a script, like, the first thing I do, so I read it a bazillion times as much as possible. And when I'm prepping to go into a new project, I usually tend to watch a lot of parallel comps. Like, for me, like, I am a mom, so that's very busy and distracting. But for me, like, I like to get myself in that headspace. Like this year, I'm surprised to say that I'm directing. I'm attached to direct three movies. One's a horror film, one's a coming of age dark comedy, and one, which is my first american movie, is a comedy thriller. And for me, the biggest thing I do now that I'm in these different genres is right when I'm getting ready to do it. I watch a lot of similar, comparable movies. And also too, you know, honestly, I take master classes on different things if, like, in the horror film, there's gonna. There's more action. So I now was watching a couple different classes on directing action because every project, there's usually a new challenge or something I at least would want a refresher on. So, yeah, I watched some of my material. That's number one. I study up again if I'm feeling, you know, that I want to learn something new or I want a refresher.
And then other than that, I really just dissect the story. Because regardless if it's horror or comedy or rom.com, the number one thing is, like, if you strip away, this scares and the laughs. Like, what are we talking about? What are the themes? So those are the first couple of steps I do.
[00:07:12] Speaker B: Do you have a certain creative process.
[00:07:14] Speaker C: That you follow, like, while directing?
Yeah. So it's kind of a little bit what I touched on. Like, I first merged myself in the genre, definitely read the script over a bazillion times. Then, you know, naturally from those two things, the world starts to, you know, populate in my head for lack of a better words. And then the next thing I kind of do, which I find really fun, is think about casting. And, yeah, I kind of go down that route of casting, and then the next thing I'd say is production design and then cinematography. I'd have to say, like, cinematography is probably the one that still takes the most time for me. I visualize things, but, like, I'm not a big gearhead, so, you know, to say, oh, I wanted to shoot like this and look like this, you know, with this gear, that's probably the biggest hurdle I face directing. So I tend to, again, just watch a lot of things that I like and how they were shot and then I prep that language to speak to everybody.
Yeah. And those are. Those are the kind of the immediate steps. Yeah.
[00:08:22] Speaker B: Considering all of the projects that you've worked on, do you have a memorable experience while working on a certain project that's going to stick with you forever?
[00:08:29] Speaker C: Yeah, I think there's been, like, a lot of great experiences, but I'll say one that's really was a major, like, milestone for me is working for CBC, co writing and directing a commercial campaign for the Junos with Simi Yulu. We CBC and the amazing team of CBC and myself, we co wrote it. And, yeah, to get to, to be, you know, brought in as the director was amazing. Like, he was filming Barbie at the time and, you know, fan of his work, but I was just a little curious to see how the synergy would be and how things would go and for me, being on set and having such a great experience with him and the rest of the crew and just, you know, having a really great shoot and ended up with a really great end product. Product like, that was something that, you know, kind of gave me, like the pat on the shoulder that you're doing the right thing. He's working with Greta Gerwig and, you know, all these amazing people, but I was able to work with him as well. And, yeah, that I was just able to survive the day. And, yeah, in the end, we got nominated for two Promax awards, which are like the big promo commercial awards, and one was for best direction, which I was extremely flattered with. And also one was for best in its category, which is live events. So, yeah, it ended up being great. And, yeah, I'll never forget I had to direct him with dancing and I. Yeah, like, again, I thought I would geek out or nerd out, but I was quite comfortable and I actually had to, like, do a dance for him and it didn't feel that embarrassing or cringey probably was, but again, it was just like, I'll never forget. Like, it was. The song was heads will roll. That was the song. It's like some song I saw in like a Goosebumps movie when I was watching it with my kids. And I'm like, this is a cool song. So I played that on set, and just seeing him dance to it and just the synergy going back and forth. Yeah, I just kind of felt like a real milestone in my career.
[00:10:29] Speaker B: So is there any genre or a medium you want to. That you're interested in, that you one day want to explore that you haven't yet?
[00:10:36] Speaker C: Yeah, for sure. The superhero genre and action, definitely. Yeah. More and more. Like, I mean, all those adventure movies, when I think about, like, karate kid or Goonies, like, when I look at those movies that I love or back to the future, it's a lot of action that's in there. And I, of course, like, I feel like. Well, most people, I feel love the Avengers movies and Marvel movies.
Full disclosure, my husband did work for Marvel, but he worked at. He's a storyboard artist, and he worked on their series what if. But that's. I was even more jazz because I was already in love with it, with the series. But, yeah, so those kind of films are definitely. There was something else I was gonna say, and I forget now. So. Marvel. Oh, yeah. Bucky the vampire slayer. Like, when I look back at things that I loved growing up, the action and those superheroes, um, themes were always there. It's kind of funny that I never, like. I just never had really a strong idea to write one. But, um, for directing, that's something that I would definitely love to do next. Uh, yeah. So put that out in the universe.
[00:11:39] Speaker B: Not. Not to, like, grab into the universe and look at, but what would you want to do in that superhero space? Like, what's. What's the dream?
[00:11:47] Speaker C: Like, what, to direct or direct or write. I direct. I don't. I can't see myself. I would be way too terrified to write anything in that space. Like the, you know, history and. Is it anthology? I don't know the word I'm looking for, but, like, the mythology or the. It's too deep, and I would get my butt ripped apart by real fans. But directing, I definitely feel I could do. You know, I'm a good, like, study, and I've seen those films so many times, and to see, you know, what I feel. Not that it's formulaically, but you can. You can pick up things that work and don't work. So that's something I'd love to apply. And then, honestly, I just. I, you know, when I was really young, I used to take martial arts, and I just love action. So definitely a Marvel movie or DC. I love Wonder Woman, too. I would kill to do any of something, anything on that scale. And I think too, like, I'm repped by revolver films for commercials, and a big part of me wanting to do commercials is because you get to play, you know, when you're starting out, you don't get, you know, massive budgets, but in commercial space, there is better, not better, but bigger gear, I'd say you get to play with, and that's something I'm really interested in.
Yeah. So, like, definitely I'd love to see how it comes together in an action film or superhero film as well. And, yeah, I have a background in editing. I started off as an editor, actually, and that is something that I see in comedy and in horror and with special effects has come into play. So I'm kind of itching to see how that would all come together in a superhero action fueled way.
[00:13:29] Speaker B: That's awesome. And you directed a movie called fashionably in love. Can you share a little bit about that experience and how did that come together?
[00:13:37] Speaker C: Yeah, I just got a nice letter from one of the lead actors like, ten minutes before I jumped on here.
Yeah. So how that came together? Like, so how did that come together? Okay, so it's like many little steps. So it's really, that was my first break into the tv movie world, and it's, it's very difficult to break into because those films are sprints. You get like twelve days to make them. Things are always changing. Twelve days is extremely fast. You know, you have a little bit of prep time, casting. Everything comes together very quickly, and on the day, there's many things that happened happen, you know, so you have to be super experienced and able to pivot and all that jazz. So for me, like, I had applied many times trying to, like, you know, get in touch with the right producers and to no avail. Like, you know, I was just kind of, like, trying to do my networking thing. I'm not a big networker just because, I don't know, just not in my blood, but so, yeah, I couldn't get anywhere with that. And then I, when I wasn't getting any guesses to directing, I started to continue to train. Like, I will always train. I'm a forever student. And I got into the women and directors chair program, which was great. Didn't think, you know, that would lead to anything particularly other than, like, well, I mean, I should rephrase that. When I got into women, the director's chair program, I knew it'd be great in terms of studying and would help me hone my crafts as a director. But that was one of the things that gave the. The fashionably in love team the green light to say, yes, you know, let's hire her. And also playback magazine, I got named as one to watch, and I think those two things is what gave them the confidence to give me a try.
Yeah. So when I did, actually, it's funny, the producer who ended up hiring me, I did apply to her like, six months before ending up with, you know, you have to get some more experience. And I actually did not gain on the ground experience, but I got those two initiatives, and I think that's what gave them the confidence to bring me on.
[00:15:47] Speaker A: How do you feel about being nominated for Canadians Screen Award?
[00:15:50] Speaker C: I'm so excited and flattered and, yeah, you know, like, last year I was there, part of the Warner Brothers initiative alumni, which is amazing. But no, I did not. Um. I think that I would be nominated the next year. But, yeah, I know it's great. It's one of those things, you know, you grow up hearing about it, looking at it. I actually volunteered at the events, like, many moons ago when I was starting out, just getting into the industry, so now it's. Yeah, it's really surreal to be nominated for best direction.
[00:16:18] Speaker B: Yeah, that's amazing. And congratulations on that. Like, that's.
[00:16:23] Speaker C: Oh, thank you. Yeah, yeah. No, you know what? The MLW field, too, especially because they do so many of them, like, you know, in series, there's. There's a good amount of series, but MLW, there are so many that we produce in Canada, so, like, to actually get picked out of that small bunch. I was really shocked in a good way, though.
[00:16:48] Speaker B: So let's talk a little bit about advice you might give to young directors who are starting out. Is there something that you wish you would have known?
[00:16:56] Speaker C: Yeah, I mean, this is not like, the fun or cool answer, I think, is, like, with the creative, because I feel like anybody, it loves movies and they love storytelling and they're watching it, and that's, you know, kind of like a given. But for me, to be honest with you, I feel like it's the financial part of it. Like, I see that a lot of people who start out, why they don't pursue is not that they don't have the talent or passion for it, but life gets in the way. So, like, the best advice, like, when I went to centennial, what was good about it is I got to touch on everything. I got to learn about editing, producing, teleprompter, like, everything. So when I went in the workforce, I was able to take other jobs. And I didn't know that I wanted to direct immediately. I think I didn't maybe knew I would do it. Like, if someone talked to me about it, what the role actually was, but it just didn't seem in the car cards. Back then especially, there wasn't a lot of female directors. But the one advice that I wish I knew was to, you know, those first few years when you're starting out to make a plan to have a day job or to have some kind of freelance income, because it's not like you get your first gig and you hit the ground running, you know, like, you have to do other things sometimes for the first few years. So that's like the unsexy truth, but it's true. And also to learn about taxes, which is so amazing. I hate taxes, but it's important because again, it's like, when you're starting out, you have to know, like, it's just different mediums. But, like, I've had people in my life, that tax season comes around and they didn't realize this is a freelance thing, and now they have to pay this extra amount of money, and it just kind of chips away at their soul and ambition to stay in the arts because that stuff is the stuff that could really affect, you know, your mental health and your lifestyle. So it's not nice. It's not fun, I should say. But really starting out, like, just have a plan for when you're not in the industry because it's very. Directing is not a full time employment year round. So when you're. Especially when you're starting out too, you know, it could be lower paying stuff. So it's to have a day job. And most recently, I'm working with the amazing Jeff Howard, who is a seasoned writer who's done haunting of Hill House, Midnight Mass, and Oculus was his film as well. And he told me something I was listening to. I was actually listening to a webinar of his well, before I started working with him. And he said, I think he was a baker in the daytime. So his advice was to have a day job and have it be as least creative as possible, so that way you're not creatively depleted. I was still working in creative realms, so it was really hard to go home and write and to do things on the side.
So that's really good advice.
[00:19:50] Speaker B: No, for sure. I know I've used. I've thought about that my own personal life where I'm like, you know what? It's job. Where I could go cut grass for hours.
[00:19:58] Speaker C: Exactly. And not think, exactly. Yeah, because it's too hard. Like, so even, like, you know, this morning, I've never applied for these professional development grants, but I'm gonna do it because there's. There's things that this. They will just. The government will. Will pay you to write pilot, to write, to hone your. To hone your creative skill. And I find, like, I'm so freaking lucky that I am. Have been pretty steady, busy directing, but I'm depleted when I have to start to write a new whatever. Right. So that, like, all this to say, like, if I don't have a day job because it is hard now how much I'm working to get into any kind of job job because, you know, you get pulled away for directing. Thankfully that continues. But having a grant, yeah, I can just have it off just to write because it's just too hard to have other creative projects and then embark in a brand new creative product that takes, you know, another big part of you away. Right. So the grant system is amazing, too. Actually, that's something that I wish I knew about coming up.
Yeah. Because there are grants and initiatives that can help keep you afloat when you're starting out. That's something I should talk about, actually. Yeah.
So, yeah, I'd say advice to some people starting out is to look into the grants that are in Canada available to you. Some are training grants, some are mentorship grants where they will pay you to work on your projects or your craft.
And that's super helpful between those jobs.
[00:21:27] Speaker B: Yeah, that's awesome. And so being a graduate of centennial, what are the. Some of the ways that it helped prepare you for the industry?
[00:21:37] Speaker C: Yeah, the biggest. Like, there's two things. Like the technical side and then, like, the inspirational side, but in terms of, like, the technical or logistical side, because the course that I took was very wide. You know, you got to try everything. Writing, production, post production, direct and, yeah, production. So for me, like, that was an excellent course to take. While I didn't have, like, I didn't go into it 100% knowing that I was going to be a director again, it just wasn't really. There wasn't a lot of female directors. I didn't even know if it was a possibility for me. But centennial, because it touched on all those different areas, I was able to stay afloat while I started directing, and while I was figuring out, out directing, I did a lot of different jobs, which only strengthened me as a director. Like, at Centennial, they had a really great editing program. We had to do our final films. There was a scholarship I had to apply for, so it forced me to have to learn how to edit. And that is the main job I did before I went into directing.
And, yeah, and it was just because that program opened me up to all the different avenues as a director. I definitely still pull on all of them, like, having that. All that knowledge. So, yeah, that was a really good foundation. And then other than that, like, truthfully, I have a reading and writing disability. And it wasn't until Centennial college, like, I had it diagnosed. And then, you know, it wasn't until Centennial college where I actually started, like, thriving as a student. My grades were pretty bad before, but, you know, I applied for the scholarship and I was so lucky to get that. And then I won that Donnie award. I still have it on my office for best film. And it's not just the accolades, it's, again, it's like the inspiration that. How did I win? And, like, you know, oh, maybe there is something here. Maybe I do have some talent here and I could go on and do this for a living. So those, like, that was the first time in my life that I actually became good at something and people gave me money and an award to prove it. And so, Daniel, like, it was a wide subject we studied that helped me stay afloat, and then it was the vote of confidence from getting those out. Delays. Yeah.
[00:23:59] Speaker B: You mentioned being a female in the director space, and what is that like for you to be in that space?
[00:24:08] Speaker C: So, like, now it's pretty wonderful. And things have changed quite a bit. Like, when I started off, I was pa'ing on certain musical music videos. I won't say who with who, but the directors, you couldn't. Sometimes you were told, like, not to look them in the eye, don't speak to them. Like all these, like, you know, in the early two thousands is these insane things. That is not the way that it is now. And it was totally dominated, you know, by men.
But now it's getting, you know, there's still, of course, a long way to go, but it is getting better for females and, you know, it's such a different space now. The director's Guild of Ontario is great. They have all these courses that some are mandatory, which is good about just kind of how you're treating people on set and cultural awareness and, like, all of that has made set safer, you know, and a more welcoming place and there's so much more opportunities for. For females and for me, it's like, it's great, but my own. So I love all those things. But my only beef is I just want to be hired for my talent and not my gender.
But that being said, I'm very happy for those initiatives, and they're needed because there is a reason why the scales are unbalanced. Like, I've had a lot of experiences being in the room with people and not being really, truly not being seen or heard, you know, and there's a couple of things that I won't name names, but a couple things that I submitted.
This is, like, before social media, and this is how far we're going back, but that I submitted, you know, my name as a male's name, Sam McAdam. They couldn't tell that I wasn't, that I was female, and they were surprised I was freelancing. But, you know, those are the things that I had to do. So now it is, is a real insane moment, because now you want to put Samantha, like, you want people to know, and, you know, and also, too, you want them to know your culture. So it's nice. It's really, it's really nice and it's good. And, yeah, my, you know, my whole thing is I just wanted to be even and equal.
Yeah. And just fairness for everyone. But now it's a much better space, and I feel a lot more protected. That's the number one thing. You know, before I had kids, I was like, oh, I want to go out to Hollywood. That was, like, the thing. And then after started hearing about all these Hollywood stories and seeing people that went out there and what happened to them, sadly, I was so thankful that I never did. And now, of course, there's some stuff that happens, but I feel a lot more secure and safe to make my way out there and in this industry because of all those people who broke down the barriers and have these amazing initiatives and spoke up. And so, yeah, it's much better inviting space now, I'd say.
[00:26:55] Speaker B: In what kind of other ways have you seen the film television industry evolve over the years?
[00:27:01] Speaker C: I mean, it's kind of the same vein, but definitely more females, definitely more people of color. That's the biggest thing I've seen. On the positive side, like, that has been fantastic, and so needed representation is, of course, important. You know, growing up, there was not a lot of people that were from my background on screen, and, uh, yeah, it's, it's very important that everyone gets to see themselves as a hero in stories. Um, so sorry, what was the question again? I'm trying to. There was a negative part I was going to speak to.
[00:27:33] Speaker B: I can't remember just what ways. Have you seen the film television industry evolve over the years?
[00:27:38] Speaker C: Yeah. So the only, like, the negative thing that I have seen, um, in evolution, I like to stick to the positive, but I'll be honest here, the negative thing I've seen has been in comedy. You know, um, it was needed, definitely we needed to watch what we were saying. It was like, especially in the early nineties, it was out of control, the stuff that we would joke about because it would get infused into pop culture, you know, pop culture, and then it would get infused into normal people's society behaviors. And, you know, I don't need to explain what happened there. So, yes, we definitely need to watch the jokes and who they were targeting and all of that. So that was needed. But I feel like comedy now, especially in Canada, is, is not at the or and the whole world is not in the best place. Like, I love, though, those, you know, Will Ferrell, Adam McCabe movies. And I think we're all waiting to find out what is the next brand of comedy, what is the next appropriate type of comedy we can do. So I just miss those comedies. I miss, like, bridesmaids and bad moms and, you know, those kind of big blockbuster comedies. But I think right now, the, we're trying to figure out what is that next, you know, appropriate space to tell jokes in. So that's the only thing that I like. I'm, I feel bad about the evolution with, or the only thing that I think I can't wait till that gets figured out. But everything else has been great.
[00:29:01] Speaker B: So just before we wrap up, can you share any exclusives on future projects you might be working on?
[00:29:07] Speaker C: Yeah. So, yeah, I mentioned before, so I guess I can, I can't say a whole bunch, but, yeah, I'm working on my first horror film, which I'm really excited to get on. You know, it's a little bit of, like, bigger budget for me anyways, and we're looking at some amazing cast, which is like, you know, I don't, I can't say too much, but it's kind of like an old school vibe, but modern take on it. And then the next thing I'm working on is an indie coming of age comedy with, with Edge enterprise, uh, which is about a young boy growing up in Niagara Falls. It's a young caucasian boy growing up in Niagara Falls. So naturally, they're like, let's get a guyanese canadian woman to tell a story. But no, it's a great story. It's based on his life loosely inspired by his life, I should say. And for me, I connected with the dysfunctionality of the family growing up. And also that was a comedy where they walked the line of being funny and not being offensive, but also not being super filtered. So I'm excited for that. And then lastly, I am right now just getting the contract to do my first american film, which, again, like, what's really cool about that is one I've always wanted to co production so that I'm excited about. And what's really great is, like, in Canada, I was always told, like, features are dead, don't do features. And now the industry is in a bit of a lull. It's funny because the features are. Are what's keeping me going. So it's. And for me, I just kind of. I gravitated to them because directing episodics, there's so many amazing directors, and as the work gets slow, the bigger cheese directors come down to the other positions that would usually go for the up and coming directors. Right. So, yeah, I fell into those features, but I'm so happy for it. And I've always, I love tv shows, but I also love features. And it just shows, even if someone says something's dead, still pursue what you like because they never know how it'll end up. But, yeah, so those are the three. Three things I'm working on.
[00:31:03] Speaker B: And it's. Sorry, I'm just thought of this as you're talking about going to the states and working with them, but so much is coming to Canada. Right? Like, there's so many productions through HBO and many other big companies that are coming to west. Yeah.
So it's obviously you're in a great spot to be a part of that.
[00:31:25] Speaker C: Yeah, I hope so. Like, to be honest, like, I've always, like, again, like, my comedy or my voice, people have told me it feels american. I don't know what that means, but I think it's this kind of bolder and raunchier, I think is the best way of putting it.
But, yeah, no, for me, I've always, like, not get frustrated, but I'd see, like, the suicide Squad filming, and I'd see, like, you know, these juggernauts, huge films being like, I found out adventures in babysitting. A film that I love was filmed in Toronto. Like, they. When the little girls hanging out the window, that is the same building where I had all my baby testing done. I forget what it's called, but the counter eggs and all that stuff.
So I was, like, looking up the window while we're talking about babies and being like, this is where they filmed that movie. But, um. But, yeah. So, like, for me, I always saw all these amazing productions happening here, and it's so commuted to happen here, so I just kind of thought it's really funny, but my plan is to get in touch with those american producers so I could get them back here to work.
Yeah. Because we've been doing it for years, so let's just get some more Canadians in front of those productions. Yeah. Shout out to dune, because that's a great example of somebody who did it sing, you know? But. But, yeah, yeah, it is great. And, yeah, I think, like, we have the tax incentives, so it's just a matter of building those relationships.
[00:32:42] Speaker B: Awesome. Well, Samantha, this was an amazing conversation, so thank you so much.
[00:32:45] Speaker C: Well, thank you so much.
[00:32:54] Speaker A: Samantha has such an incredible insight into this industry, and it's amazing to hear a little bit about the behind the scenes of her work. If you want to keep up with her projects, you can follow her on.
[00:33:07] Speaker C: Macadam.
[00:33:07] Speaker A: And while you're there, head on over to story art center at Story art Center and let us know what you thought about this episode today. Until next time, I'm your host, Pat Quigley, and this is storyteller in depth.
