Out with the Old, in with the New: How Dear Friend Brings ‘New School’ Production to the Table
A British Columbia-based production house, Dear Friend brings award-winning work to Canada’s west coast. Seeking to react to the ever-evolving nature of the industry, the team prides itself on being able to deliver a consistent balance of innovation and experience by fusing insight and imagination to drive brands forward.
Dear Friend is also a large advocate for the new era of production, emphasising the importance of prioritising active relationships with directors, agencies and brands - all in the name of subversive work that celebrates freedom of thought and fearless curiosity.
LBB’s Josh Neufeldt sat down with the partners, including founder Mark Chisholm, co-founder Trevor Lang, head of production Brayden Wiebe, and head of director representation/new business Garth Collins, with the hopes of learning more about the company’s ethos, its history, and what the team is trying to achieve.
LBB> Please give us some background on your history! How did Dear Friend get started, and how did you evolve into the production house you are today?
DF> Our journey began during the DSLR boom in the early 2000s, when filmmaking became more accessible even without a hefty budget. Recognising the market's potential, we seized the opportunity. We decided to move into a four-bedroom house, which became our central hub for the next four years. Initially, Mark, with his film school background, played a crucial role in bringing us together. However, it was the combination of our individual skills that truly made our team click. Mark directed, Trevor worked as a cinematographer, Brayden took on the role of producer, and Garth led us to new opportunities.
As time passed, our initial inspiration drove us to constantly improve ourselves, not just as filmmakers, but also as young men. We forged a deep brotherhood, forming an unbreakable bond and shared commitment to personal growth. We refused to give up on our dreams of establishing a prominent production presence in Vancouver. After enough agency doors had been knocked on (several times), some of them opened. These led to valuable partnerships within Vancouver's thriving film community. So, with a steady stream of projects coming through our agency partners, we carefully curated a roster of directors who shared our company culture and could expand our services across Canada. Today, we stand united as four executive producers, where the synergy and creativity on set take precedence in every project we undertake.
LBB> A studio run by four friends who learned the ropes organically is no small feat. What was this process like?
DF> We learned our process by approaching each challenge head on. We weren't overly versed in the traditional production approach at the beginning. That necessitated us to develop our own style of production, which we were then able to improve with every project we did. As we started to grow and work with other producers, we realised the approach we developed wasn’t far off from a traditional production approach - something that translates throughout our company into everything we do. We learn by doing, and make sure we gain our experience first hand. We have also been sure to grow this ‘traditional’ approach, and now operate on a level that makes sure our crew is treated with respect and paid fairly, all while the client/agency have a great experience from the start of pre-production to being delivered exactly what they set out to achieve.
LBB> You mentioned the creation of a collaborative environment as essential to Dear Friend. What does this look like, and how does it lead to impactful work?
DF> For us, the essence lies in extracting as much juice from the lemon as possible while in the initial agency briefing. We dive deep into the marketing objectives, unravel the project's origins, and explore how our director's vision can leave a lasting impact on the marketplace. Armed with this comprehensive understanding, we collaborate closely with our director to devise the most effective production approach to allow their creativity to flourish.
Beyond that, we exercise careful discernment in choosing when to delicately nudge the script - always mindful and respectful of the process that preceded us. Often, these opportunities arise naturally during the production journey. It could be a remarkable cast member or an extraordinary location that sparks an idea none of us could have fathomed while sitting at our desks. Yet, we remain vigilant in seizing these organic moments and leveraging them to propel the project forward, while remaining true to the initial objectives set by the agency and client.
LBB> Your company ethos is based around creating a team that embodies shared values. What are these shared values, and what do they represent to you?
DF> As a team, we have a set of shared values that we maintain so they can become our identity. In the last few years it has become apparent to us that reputation is likely the biggest asset to any company - especially one in the film industry. Reputation is a simple idea at first glance, but we have come to realise each of us has a reputation to hold internally, as well as with anyone we deal with externally. We hold each other accountable and always push for success within our team. Sometimes that can be difficult, but we have learned that encouragement from teammates and internal positive reinforcement are some of our strongest motivators.
On the other hand, when we are dealing with agencies, clients, permit offices, crew members, etc., we are all accountable for how those people - and in turn the industry - perceive us as a whole. We go out of our way to operate as transparently and fairly as possible with everyone we encounter. In the past, we’ve felt as though there has been a stigma surrounding some more old school production companies - something that carries on to this day. Whether that is crew feeling like they are being taken advantage of, or productions cutting corners and taking risks on jobs potentially at the client/agency’s expense, we refuse to be a part of that. We want to change the narrative around production companies and manage everything we do the right way. We plan to be around for the long run. We aren't here for some quick income. In our eyes, operating openly and delivering high quality work, while treating the people we work with properly, is our highest form of value.
LBB> Building on this, Dear Friend is proud to say it's at the forefront of ‘new school’ filmmakers in Canada. How do you stay on the cutting edge, and what do you look for when making hires and undertaking new projects?
DF> We place a lot of stock in the chemistry among our collaborators when it comes to making hiring decisions. The compatibility of personalities between our line producers, directors, and cinematographers is paramount. While talent is certainly important, we’ve noticed that pairing the right personalities leads to synergy where ideas and solutions are driven by a genuine commitment to serving the creative, rather than simply fulfilling a job requirement.
Remaining at the cutting edge, for us, simply just means staying at the forefront of what inspires us as creative producers. We prioritise maintaining an open dialogue with our directors, even between projects. By keeping communication lines open, sharing work that excites us, or discussing the introduction of new industry equipment, we keep the creative juices flowing. This organic exchange of ideas naturally breeds inspiration for future projects.
Finally, this is aided by the fact that we want to deeply comprehend each of our directors on a personal and creative level. Understanding acts as a powerful catalyst, providing us with a head start by carrying forward previous ideas and conversations into new projects.
LBB> Dear Friend often hires from the Collective Bunch Society. Please tell us about this relationship! How do you work together, and how has this decision enabled you to craft an exciting team?
DF> Building on our commitment to diversity and inclusion, Dear Friend has developed a strong relationship with the Collective Bunch Society. We actively collaborate with the society to identify and hire talented individuals from underrepresented communities in the film industry. In fact, one of our partners, Garth, sits on the board as the director of advocacy.
Working together involves close communication and a shared mission to provide opportunities for marginalised creatives. We engage in regular discussions with the Collective Bunch Society to align our goals and ensure that our hiring practices reflect our shared values. Through this partnership, we have been able to access a pool of diverse talent that brings fresh perspectives and unique voices to our team.
In turn, this collaboration has not only strengthened our commitment to diversity, but has also enabled us to contribute to the broader goal of creating a more inclusive and representative film industry. Together, we are working towards breaking down barriers, amplifying underrepresented voices, and building a more equitable creative landscape.
LBB> Tell us about your team! How many people do you have, and will you be looking to grow it further in 2023?
DF> A decade has passed, and the four of us remain the heart and soul of our production company. However, as 2023 unfolds, we are actively and aggressively expanding with team members who can fuel the growth of our service sector, alongside a project coordinator who can help us navigate the demand of projects coming across our desk. Our primary focus is to find individuals whose personalities align with our company culture. This is because at Dear Friend, there exists no rigid hierarchy. We firmly believe in treating everyone as equals, and recognising that each person brings their unique imprint to our company. We foster an environment where every voice is heard, and every perspective holds. As such, we want individuals who not only contribute, but also teach us valuable lessons along the way.
In terms of our roster, we have some really exciting directors we’re eager to introduce to the Canadian marketplace. Staying true to our commitment to DE&I, we’re beyond thrilled to announce Julia Pitch, Abraham Felix and Cali Bondad for exclusive Canadian representation. You can check out their work on our website.
LBB> With your directors, you’ve emphasised bringing a fresh perspective, and breaking away from the transactional approach. In execution, what does this look like?
DF> After extensive industry research, we discovered that directors often felt constrained by their production companies, and weren't reaping the rewards of their talents. While the old guard imposes restrictive guidelines, we prioritise building active relationships with our directors to foster their growth. This entails listening and understanding their desired trajectory for their reels, providing guidance on project choices - whether with us or elsewhere - and collaboratively crafting contracts that align with the best path forward for all parties. Our guiding principle is to maximise opportunities while curating a reel that authentically showcases their artistic vision, and the work they aspire to create.
LBB> What are some of Dear Friend’s most significant recent projects, and what do they represent to you?
DF> One notable highlight was the BC Dairy campaign, which introduced director Grayson Whitehurst's exceptional work to Canada. This project not only brought us joy during the shoot, but also fostered a strong bond and friendship with Grayson. Notably, the campaign's outstanding sound design earned us a Clio award, generating substantial market buzz for Grayson.
From a narrative standpoint, our partnership with Vancouver-based Rich and Jay Creative has led us on a series of consecutive projects with profound emotional depth. Among these, ‘Refeed’ received a Gold Telly award, effectively conveying the importance of sustainable waste management - a cause close to our hearts. In fact, our creative endeavours are driven by a passion for raising awareness on this issue.
Last but not least, we have an upcoming project titled ‘BC Cancer Society’ on the horizon. This will serve as an impressive debut for our latest addition, Alex Sworik, renowned for his ability to capture captivating stories with stunning visuals. The imminent release of this project holds great promise, further demonstrating our commitment to impactful storytelling.
LBB> Seeing as you’re located in British Columbia, how does the scene compare to other parts of Canada, and how does your location elevate your work?
DF> Living and shooting in British Columbia is a filmmaker's dream. The stunning blend of ocean, cityscapes, and nature is complemented by a vibrant community that upholds exceptional quality standards. This is why the region attracts numerous service productions.
Moreover, British Columbia serves as a nurturing ground for emerging talent. We have leveraged the city's geographic beauty and partnered it with our skilled crews, resulting in the establishment of a commercial hub. While the market share may be smaller compared to the east coast, we provide a cost-efficient solution for productions without compromising on the calibre of talent.
LBB> What are some of the biggest challenges Dear Friend has faced, and how have you overcome those?
DF> We now recognise our business' role as a catalyst for change in production by consciously supporting DE&I in the workplace. As mentioned previously, our partner, Garth, was recently appointed to the Collective Bunch Society’s board of directors - demonstrating our dedication to providing opportunities for people of colour within the film industry.
As part of this, we actively contribute to promotion of more inclusive directorial work. We actively engage with marginalised directors - putting them forward for opportunities with the hope that agencies will provide these individuals with the chances they deserve. While a director may not always possess a perfect reel for a specific job, it is our responsibility - and that of the creative industry as a whole - to at least offer opportunities for these directors to thrive.
LBB> What does the name ‘Dear Friend’ mean to you?
DF> For us, it embodies our success: meaningful relationships over profit, and an inclusive environment for all filmmakers. It's twofold, representing our commitment to each other. and the values that have made us thrive.
