Need help pitching? Don’t miss the Artist Talk / Pitch Session with Producers Hank White, Cory Bowles, Wanda Taylor and Juanita Peters.
Script Pitching Session
Saturday, April 23, 10:30am-1:30 pm. Open to emerging filmmakers. Gather information for your pitches in a FREE (yes, free) Script Pitching Session that will take place at the Halifax Public Memorial Library. Producers will share tips for writing effective Loglines and script titles.
Practice your pitch(es)! You will have 15 minutes of 1-on-1 meeting time with our industry experts. Deliver your pitch, receive feedback, after the lunch break the decision of the best pitch will be made along with advice and guidance. No need to be nervous—these sessions will help put you at ease and are informal.
Plus! Questions to Ask Yourself Before Your Pitch
Your pitch sessions questions answered:
Do I have to have a screenplay completed before I can pitch?
No. Our industry experts are offering their expertise and will not be the ones producing the winning script.
What happens in a pitch meeting?
Agents or producers want to hear about your characters and plot in a “nutshell.”
Please don’t bring your manuscript /screenplay with you, but you can bring along a 1-page synopsis or notes. Agents cannot read manuscript/screenplay pages during a pitch meeting because of their professional rules of conduct.
Prepare a 1-page, single-spaced synopsis of your entire plot. This is for you to refer to during your meeting. On rare occasions agents might ask to take it with them. Have your name, email address, and phone number at the top.
Have a great logline—that 1-sentence summary of what your film is about. Read it out loud before you get here; revise it a couple of times. This logline usually opens the discussion in your pitch meeting. If this is your first pitch meeting and you’re nervous, write down the logline and read it from your notes. The producers are here to hear your idea, not to judge you on memorization or presentational skills.
Be able to talk about at least 1 big memorable scene from your story or project, sometimes called the “set-piece scene.” This is the type of scene that might say “everything” about the main conflict or theme of your screenplay.
Be able to talk about “why this screenplay shouldn’t be a book.”
A graduate of Dalhousie Law School, Floyd Kane articled with Blake, Cassels and Graydon in Toronto before being called to the Ontario Bar in 1998. While serving as Legal Counsel, Salter Street Films Limited, from 1999 to 2004, Floyd also served as Production Executive on numerous projects, notably the Academy Award-winning Bowling For Columbine, Shattered City: The Halifax Explosion, POKO - Cycles I and II and Lexx - Cycle IV.
In 2004 Floyd Kane joined Halifax Film as Vice-President, Creative and Business Affairs, responsible for initiating and pursuing creative properties as well as for all production business and legal affairs for Halifax Film. Floyd has been instrumental in the development of productions based on the award-winning book The Hanging of Angelique by noted Black Canadian scholar Afua Cooper, the international best-seller The Many Lives and Secret Sorrows of Josephine B. by Sandra Gulland, and Alex Caine's critically acclaimed crime memoir Befriend and Betray.
Floyd created and produced the six-pack dramatic series North/South for CBC in 2006, and was one of the co-producers of the feature film Shake Hands with the Devil. He is currently Executive in Charge of Production for The Guard (Canwest) and Executive Producer of Canada's Super Speller (CBC), Soul (VisionTV) and the upcoming sketch comedy series That's So Weird! (YTV).
Prize for the winning Pitch:
Production Membership Grant
to complete your next film!!!!
A Production Membership grants
the member rent-free access to
a large range of CFAT’s field
equipment, including cameras,
lenses, tripods, microphone
packages, lights and other
A Limited Editing
Membership enables a member
to access in-house and editing
suites, within limits, rent-free for a
period of two months once project