Rooted in Story: A Conversation with Donovan Richard

1) Your profile mentioned you “mentored several filmmakers” including various workshops and training. What would you say inspired you to begin teaching filmmaking?

Don: After spending several years as a producer, production manager, and assistant director for a wide range of film projects through the NB Film Co-op, I realized how valuable it would have been to have a mentor when I first started out. That insight is really what inspired me to begin teaching. I wanted new filmmakers to have the chance to have someone who could help walk them through the process step by step, answer their questions and help them avoid the pitfalls I had to learn the hard way. Sharing the knowledge and skills I’ve gained over the years felt like the right next step. It's not just teaching the fundamentals, but also bringing in my personal experiences from real sets. I find that those stories and lived lessons are what truly resonate and help emerging filmmakers connect the dots in a meaningful way.

2) What would you say has been the most challenging part of your filmmaking career so far?

Don: For me, the biggest challenges in filmmaking have really come down to two things, time and procrastination. They tend to feed into each other. When you procrastinate, you lose valuable time and when time slips away, it becomes harder to stay focused on the projects that truly matter. I’ve learned that time doesn’t wait for anyone, so you have to intentionally carve out space to work on the stories you care about and avoid getting pulled into distractions. Those have been my toughest challenges and they’re still areas I’m actively working to improve on. But acknowledging them has helped me stay more accountable and more committed to the creative work that inspires me.

3) How did you become interested in directing and producing?

Don: My interest in directing and producing really began with my love for storytelling. As a kid, I didn’t recognize it as “storytelling” because I just wanted to become the heroes that I admired. But as I got older and started imagining my own worlds and characters, I realized that I had stories of my own that I wanted to tell, so I explored every outlet I could think of to try and tell thsoe stories. I did writing, drawing, creating adventures through role playing games with friends. But finally, I discovered filmmaking as a medium that could bring all those creative impulses together and as technology evolved, it became way more accessible. I didn’t need to move to a big city or secure massive budgets to start creating. I could tell meaningful stories on a smaller, more intimate scale.

4) What is a project you’re currently working on that you feel excited about?

Don: I’m juggling a few projects right now, but the one I’m most excited about is a historical period drama that’s nearing the point of production. That genre has always been my passion and this particular story has been simmering in my mind for quite a while and thanks to some recent breakthroughs with a few good friends, the script has really started to take shape. It follows a man named Beausoleil whose entire world is torn apart during the tragic events of the Great Upheaval. The film focuses tightly on his emotional journey and the hard decisions he's forced to make to protect his family and the desperate escape that follows. It’s an intimate, character driven story set against a historical backdrop and this is a project I’m genuinely thrilled about.

5) How has the Moncton region inspired your filmmaking?

Don: The Moncton region has been a huge source of inspiration for my filmmaking. It’s rich with history and filled with incredible locations that have shaped many of my projects. From old cemeteries and rustic cabins for my short film on the legend of Rebecca’s Grave, to fort ruins, thick forests and old farms that helped bring my Acadian historical film Délivrance to life to name a few examples. There are still so many untouched locations that I know will elevate future stories that I want to tell. But more than the scenery, it’s the people who inspire me the most in the area. My family, friends, colleagues, and the local arts community have always shown up with support, encouragement, and a willingness to lend a hand. That sense of community fuels my creativity and keeps me grounded. I’m excited for the many more projects still ahead that will be rooted in this corner of Atlantic Canada that I’m proud to call home.

Embracing Challenge as a Rookie Filmmaker

By Teagan Anderson-Léger

On June 21st and 22nd 2025, I spent my weekend thrust into the magic of filmmaking, bringing to life my latest screenplay, No Straws, a story about friendship, guilt, and the inevitability of letting go.

This is the second film I’ve directed, but easily the most complex, challenging, and exciting one thus far.

With a team comprised of a number of talented, passionate, and creative individuals, I felt (as a bit of a film newbie who barely slept the night before day 1 of shooting) like I couldn’t have been in better hands.

There was a hum of excitement as the weekend unfolded. People bustling with purpose like busy worker bees, confident in knowing exactly what to do. At times, I felt like I was learning to walk for the first time, but was desperate to take off sprinting. As a child of the world of 4H, its motto became my mantra for the entirety of the shoot: “learn to do by doing”. I stumbled a time or two (like, yelling “ACTION!” before the 2nd AC was out of camera frame, or misinterpreting, misreading the slate) but with such exceptionally experienced and knowledgeable human beings involved, I was able to dive right in. I focused on immersing myself fully in the process with adequate support and guidance, embracing the newness of it all. Coming from the world of theatre, there were a number of beautifully transformative moments where my mindset evolved from the stage to the film set. That subtle but necessary shift in perspective was impactful and a valuable takeaway.

This experience was marked with surprising joys at nearly every phase of the filmmaking process. From laughter bouncing around in the coloured lights to collective giddiness in watching footage back, there was a palpable, positive energy despite any setbacks (like some mishaps with the location, for example).

There’s something truly remarkable about the power of passionate people. People who derive such joy from practicing their craft and sharing it with others, wholeheartedly and generously. I feel incredibly lucky to have been able to witness and work with people like this.

People like Donovan Richard (a master Production Manager/1st Assistant Director and incredible mentor), Robert Gow (a brilliant and creative Cinematographer), Denis Cormier (an outrageously helpful and hilarious Script Supervisor), Samuel Grove (Gaffer extraordinaire), Tibor Pece (Sound wizard), Jessica McCloskey (masterfully skilled understudy, continuity assistant and runner), Jenna Bourque (a magnificent production assistant and runner), Celeste Chiasson (a bright 2nd AC), and of course, Nadyne Kuhn and Jessica Whalen, my cherished and outstanding actors who were perfect for their roles.

I was also incredibly fortunate to receive the 2025 JL New Brunswick Creative Award from the Jane LeBlanc Legacy Fund in June, which helped make this film possible.

No Straws is currently in post-production, and I’m eagerly looking forward to the day I can share this story with others.

Photo by Robert Gow

Emerging Voice, Fearless Vision: Yohann Kamto's Creative Ascent - Part 3

By Oluwayemisi Mafe
Photo of Film Co-op ED Tony Merzetti and member Yohann Kamto

13. What film projects are you currently working on? What stories are you most excited to tell right now?

Yohann: Currently, I’m editing the 10-minute film I shot last month. It’s about a serial killer finding love. It’s bloody, but primarily focused on the romance and comedy aspects. My main character is at odds with society, and although he may be different, he seeks a partner for himself. That’s the story I’m most compelled to tell right now.

14. Looking back, is there a particular project you’re most proud of? What made it special to you?

Yohann: There are a couple of projects that I’m happy with to a certain degree, but I’m not fully proud of them. I’m hard on myself. They were good in the moment, they were okay. Every project is a pathway for me to improve; I continue moving forward.

15. How do you choose your themes or characters—what draws you to a story enough to dedicate months of your life to it?

Yohann: Usually, the story comes first to me, but it’s the characters that drive my story forward. I strive to create and develop characters who are charismatic, funny, or enigmatic. I like characters that keep you wondering why they do what they do. Their back story is essential.

16. Where do you see yourself in the next few years, creatively or career-wise? Are there any dream collaborators or goals on the horizon?

Yohann: Collaborators on the horizon, for sure. I always have big goals and strive for them, but I never know what the future holds. I want to be a writer, screenwriter, poet, and novelist. Currently, my focus is on screenwriting. I would also like to stay involved in film in any capacity and get paid for it. I would also love to get some more film projects of my own out there. I’m writing a couple of stories and poems that I would like to get published or turned into films.

17. What role do you think young creatives like yourself play in shaping the future of film in New Brunswick and beyond?

Yohann: New Brunswick is impressive compared to other provinces. The young people who are here are the future of the province. The way our mentors taught us about creativity and film has a substantial impact on what we’re doing. I think we have great people willing to help us out, and we are fortunate. The NB Film Co-op is always there for me, guiding and helping me to succeed.

18. If you could write a letter to your younger creative self, what would it say?

Yohann: I firmly believed that the path I took helped my creativity. It may take longer to get to where I need to go, and that’s okay. Those years were necessary in my creative journey. I would say to my younger self, “Don’t rush.” I’m a very impatient person. I don’t like to wait, I want to do it when I want to do it. “Take your time, learn as much as you can. Take more classes.”

A Conversation with Korex

By Cierrah Gibbs

PART ONE

A couple of weeks ago, I had the pleasure of meeting and interviewing NB Film Co-op member Olukorede - “it’s like a song,” he told me as I learned to pronounce his name. However, most people call him “Korex.” Being relatively new to the film community, it was an inspiration to hear the story of someone with such a rich history as a creative in film.

Originally from Nigeria, Korex has been to many countries worldwide, finally arriving in New Brunswick, Canada. He has been a member of the NB Film Co-op since January and has been involved in various activities with the Co-op. As a new member, I was happy to hear the overwhelmingly positive things he had to say about the experience so far.

When asked how he would describe himself, Korex explained, “I am a creative persuader: my work persuades other people to be creative.” Having delved into many aspects of the creative lifestyle throughout his life, Korex told me, “I can say: okay, this is what I am now.”

After a two-hour interview, I can attest that Korex has done it all, which is why I realized that this biography would have to be in two parts to begin encompassing it. “I think it’s best if I just talk about it from how I started being creative and just through all the different paths I took,” he told me - and I agreed. So, let’s start from the beginning.

“As a child, I think the first creative aspect of my life was being able to draw,” Korex said. “That was when I knew; okay, this is me creating something. I used to draw a lot as a kid and created comics in high school. I ultimately made my drawings into movies in my comics because I watched a lot of movies, so I would draw them and give them to my friends who didn’t have the chance to watch movies, so that was kind of my thing. The first movie I drew was Street Fighter because a friend hadn’t watched it, and I wanted to tell him the story.

When I got into school, my mom preferred law for me, as most Nigerian parents prefer either law or medicine for their kids. They gave me linguistics, which I didn’t want: I wanted to take arts. Throughout my entire time in school, all my activities were film related. I got a TV set and DVDs. DVD was new then, it was the big thing - and I spent all my money on movies.

At this point, I had never shot a movie but knew I wanted to do something creative. I started a music company and record label. Before I did that, I went into radio because I needed to learn how music was promoted.

I had a friend who was involved with web design and animation, and he taught me animation. I then shot an animated music video, and while I was rendering the images, I received a call from a friend who introduced me to the BBC World Service Trust. Through them, I was hired as an assistant editor for an HIV awareness campaign for a year and a half, where I learned production and post-production. At the same time, I used the opportunity to finish my animated music video. I released that video, and that was the beginning of my filmmaking journey. The Nigerian Music Awards nominated me for best-animated feature for my project.

Then I worked for Nigeria's most prominent independent TV corporation (Africa Independent Television). I was their motion designer and learned the craft on the job. I kept on adding new skills and combining them all. During that time, I had friends and other people starting a private media company. Their goal was to make everything: sound, music, video, film, and animation. Our first client was Africa Independent Television, and we were hired to rebrand them.

In Africa, there is one major cable service called Multichoice. AIT wanted to create a competitor for Multichoice. They named theirs Darsat. Our job was to make the brand imagery for Darsat and some of the channels. That was our first-ever gig as a private company. We did that for close to 9 years, but as we started getting bigger, I had to start specializing. I couldn’t do all the things I was doing anymore.

After the whole music video thing, I decided I wanted to make films. Then I found out about the cost implications of making films. Initially, I was inspired by Michael Bay, Spielberg, Wes Anderson, and Scorsese, but as a young person, mostly Michael Bay. He knows how to use the camera, and he knows how to move the camera in ways that most filmmakers can’t even imagine - and that’s what I studied. I always wondered, How can I move the camera like this? 

I made a short film called Fight Scene about two guys at a warehouse who talked and then started shooting at each other to find out what I had the skill set to do on a film. I was testing myself by shooting something. They were shooting at each other, and suddenly, one character got a call from his mother and the other character a call from his girlfriend, and the fight was postponed until another time. The film's underlying message was that men are capable of violence, but at the core of it, people have mothers and partners. It was very successful, which launched me into making films."

Korex continued to detail his path through the film industry. From visual effects to his first DOP role - from romantic films to comedies, dramas, and animated films, Korex honed his eclectic repertoire of creative skills. Some of the movies we discussed aren’t out yet, so he had to keep some details to himself. Korex has filmed worldwide, including in tropical, rural areas of Nigeria where there were all kinds of mosquitos and in the UK as a media correspondence for the chief of army staff (who was there receiving an award for his efforts during the Boko Haram crisis). 

Korex has developed creative values throughout his creative journey, and he told me his ideals for his future work and the impact he wants to have on the film industry, internationally and especially in Nigeria. As I listened to him, I found myself connecting with his values. 

Stay tuned for Part Two of my interview with Korex!

A Conversation with Filmmaker Nancy Lynch

By Amol Malik

When a writer/director is not actively creating projects, the question, “What are you working on currently?” can be challenging to answer.

In reality, writers never really stop writing. Even if the physical act of pen on paper or clicking keys on the keyboard is not happening, the multiverse of stories keeps running through a writer’s mind with many possibilities and even more endings.

Nancy Lynch is a writer and director based in Fredericton. Her writer’s journey began in 2006 when she felt she had a story and could visualize it. She took multiple screenwriter courses through UCLA to educate herself, preparing for her first film project in 2010 called Hello Ladassia, which she wrote and directed. The film was screened at the Silver Wave and Parrsborro Film Festivals, where it won the Audience Choice Award and was nominated for Best Short Drama Screenplay.

In 2015 and 2016, Nancy was awarded the Jane LeBlanc Filmmaker Award and the New Brunswick Short Film Venture grant to produce and direct her script Side of the Road, which screened at the Parrsboro and Silver Wave Film Festivals in 2017. The film was nominated for several awards and screened at many other festivals. It was a semi-finalist in the 2018 Directors Cut International Film Festival (Vancouver) and received an Award of Commendation from Canada Shorts - Canadian and International Short Film Festival.

In 2011, Nancy completed the year-long online program through UCLA and obtained a certificate in screenwriting.

Nancy’s inspiration for writing is her love of stories. “Everybody has a story to tell,” she says. She likes to base her stories on interesting characters; her scripts are character-driven. She also likes her story endings to be somewhat ambiguous, leaving the audience wondering what happens next with the character. She visualizes her scripts as she writes, based on her love of directing.

Nancy tells new screenwriters to get their scripts read by more experienced writers and consider their notes. Sometimes writers attempt to write what they feel is the popular genre at the time, but Nancy prefers to write what she knows about – drama with a hint of comedy.

As for film festivals and grants, Nancy advises submitting to festivals and applying for grants constantly. You may fail the first time and even the second and third time but keep trying. She was given that advice by mentors over the years. You have to get over the rejections and keep trying. That’s the film biz.

Nancy is currently in a mentorship program with Women in Film and Television – Atlantic. She also has a short film that she hopes to film this summer.