Ms. Maxine Bailey
Good morning. Thank you for taking the time to see me. My name is Maxine Bailey. I’m the executive director of the Canadian Film Centre. The Canadian Film Centre is the beginning of the pipeline for Ontario’s film industry. We train writers, directors, producers, makeup artists, cinematographers, and actors. As well, thousands of cast and crew use their training at the Canadian Film Centre to gain access to the various unions and associations so that they can be full-time workers and be employed. Ontario is where Canada’s screen-based industries—film, television and digital media—thrive. But right now, the industry is at a critical moment. We have talent, we have momentum, we have infrastructure, but without immediate action, Ontario’s global, vital role in the screen-based industry is at risk of faltering without investment in the beginning of the pipeline. That’s where the CFC comes in. For decades, not only has the Canadian Film Centre trained the best and the brightest of Ontario’s storytellers, but we have launched the careers of over 22,000 creators, cast and crew who support this bustling industry. The CFC is singular in our economic and cultural output. No one in the province—nay, the country—do what we do. We are the beginning of the pipeline in the province, and unless we receive financial investment from the province, Ontario will no longer be able to call itself the production powerhouse it has become. Here is our current situation: Ontario captured 36% of national production volume last year. This generated $4.35 billion and supported tens of thousands of jobs. Yet our training capacity is constrained, and recent funding cuts have left a significant gap. If we don’t act now, Ontario risks losing both talent and ownership of our intellectual property to other provinces and international competitors. We are here today with a very precise ask of $9 million over three years from the Ministry of Tourism, Culture and Gaming. This is not charity; it is a strategic investment with a measurable return for Ontario’s economy, its workforce and global standing. The investment will help establish a robust training studio in Ontario with integrated labs that build both creative and technical production skills, training talent for real jobs in the industry, ready to produce world-class content. It will also allow us to expand our CFC satellites, which are virtual and hybrid workshops, bringing training province-wide, not only in Toronto and the GTA, but to communities across Ontario, particularly the north. Over the next three years, these programs will train and support over 3,000 artists and production crews, helping seed new companies, launch high-quality content, and create jobs across the province. That’s not a vague cultural benefit; it is economic impact that you can actually measure. To illustrate the CFC’s current impact, I can boldly state that you cannot look at any of the lists of film and TV credits without finding CFC alumni. The following shows come straight from CFC alumni: Letterkenny, Law and Order Toronto, Shoresy, Heated Rivalry, Murdoch Mysteries, Schitt’s Creek, Hudson & Rex, Saint-Pierre, Wayward, Allegiance, Departure, Orphan Black, Rookie Blue, Heartland, Son of a Critch, Sort Of—the list goes on and on. Our alumni currently helm over 80 active production companies in Ontario, and our alumni have founded over 200 companies that generate well over $250 million annually in the province. We train 800 cast and crew, and 92% of our alumni credit CFC programs for their career success, something we take immense pride in. Programs like the Norman Jewison Film Program and music lab have become world-class pipelines, feeding the industry with the creators, producers and storytellers who are shaping today’s global market. Let me give you two other examples. Amy Cameron, an alum of our film program, is now co-founder of Cameron Pictures and the producer behind Law and Order Toronto and Pretty Hard Cases. She said, “The CFC has been instrumental in helping us build Cameron Pictures, from our training at the CFC to the support it has offered over the years. All of this has meant our company has been able to find an international profile while proudly based in the province of Ontario.” Mark Montefiore, also a graduate of our programs, founded New Metric Media, the company behind the hit series Letterkenny, Shoresy, Children Ruin Everything, and Bria Mack Gets a Life. He credits the CFC with shaping his instincts as a producer, opening doors he didn’t even know existed, and connecting him with collaborators who continue to drive his success today. These are not isolated stories; they are the standard. They demonstrate exactly what happens when Ontario invests in talent: We retain it, we grow it, and we turn it into companies, jobs and global cultural exports. If you take one point from my remarks today, let it be, this works.
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