InFocus Film School Blog


Is Film School a Waste of Time?

Is there a good reason to invest time and money into film school or can it all be learned on the job?

On-set learning is better suited for those who are happy to stay in one department with one specific skill set. Those who desire to move up in the industry and have greater control over the creative process should be equipped with a wide, practical understanding of the entire production process. Having gone through the full production process already, film school graduates are well-rounded filmmakers who will already have the skills needed when promoted.

Film school offers a safe environment to make mistakes while learning and honing a craft. Making mistakes on set can ruin reputations, compromise the success of the show, and become safety catastrophes. That’s a lot of pressure!

It’s also easier to work and be creative with a strong foundational understanding of the organizational aspects of filmmaking. Learning as you go can increase inefficiencies and disorganization that ultimately wastes money and detracts from the artistic potential of a film.

Film school also affords students opportunities to expand their creative ambitions. Students often don’t know where their passion and talent lie early on. Many come to film school initially wanting to direct, but not everyone is suited for it. In fact, they may discover a new passion for Production Design, or Cinematography, or Producing etc.

Even if their passion is directing, students benefit from learning the possibilities and limitations of all departments. Directors are the creative leaders—a leader with limited knowledge relies on everyone else to dictate what’s possible instead of the other way around.

Safety is an especially under appreciated aspect of filmmaking when it should always be the top priority. To bring their visions to life, filmmakers blow things up, bring wild animals to set, crash cars, set people on fire—one accident can end careers and lives. Training is critical in this area and cannot be self-taught.

Graduates of film school leave with two important things: a network of colleagues and the support of the school. After months of working together and building relationships of trust and interlocking skills, graduating classes often go on to make movies together. Alumni benefits may also let them use the school’s equipment for their projects. These relationships mean graduates have a base professional network before they even enter the industry.

It’s hard to say that film school is a waste of time. It may not be for everyone, but it’s advantageous for the ambitious, passionate filmmaker who wants a leaping head start in reaching their creative and career goals.

A Never-ending Story: Julia Ivanova’s Limit is the Sky

by Renee Sutton

At the mercy of the world economy and great forces of nature, Julia Ivanova’s latest NFB documentary was a story that just wouldn’t stop unfolding. While no filmmaker can be entirely sure where they will end up when they begin the process of making a documentary, Ivanova’s Limit is the Sky (2016) was pulled from the editing stage back into production, three times.

This non-traditional environmental film follows how the rise and demise of Fort McMurray has affected some of the younger residents. “It’s a portrait of Fort McMurray, and of Canadian millennials searching for money, identity and success in the heart of the Alberta oil sands,” Ivanova said. She said her focus was not on the shifting political landscape, but instead on the stories of the people that it affected. What Ivanova didn’t anticipate was that it would take four years to complete the film, as new events and tragedies important to the story occurred in the process of editing.

“Three times I thought we had finished the film, and three times we had to continue filming,” Ivanova said. She first began editing in 2013, but was compelled to move back into production and continue filming after oil prices crashed in 2014. With this new material the production had again come to a close, when three weeks later in May of 2016, the devastating wildfires hit Fort McMurray and the film went back into production again. Ivanova said this film was unlike most others she had made because “the plot was dictated by the events and the world economy.”

Ivanova’s passion for documentary and storytelling is glaring. Luckily for the rest of the world, she is also passionate about teaching and sharing her collective skills and experiences. She is a well-loved instructor at In Focus Film School in Gastown, Vancouver, where she shares her wealth of knowledge with documentary and narrative students. “I really push the idea that film is a visual storytelling… no matter whether they will be making documentaries or they will be making narrative films,” she said. Ivanova added that her film crew is often very small, meaning that she participates in many of the production roles and can offer her students advice on any subject, from conception to editing and everything in between.

According to Ivanova, by providing a deeper understanding of issues, making documentaries can contribute to how audiences make choices in their own lives. “[Documentaries are] helping them to form an opinion and helping them to understand other people, like a segment of society that they don’t have access to,” Ivanova said. She said it’s the stories of people that she really loves to explore and share. “I think that this is very fascinating, that you can go to places or meet people that you would never have a chance to encounter, within an hour and a half,” she said.

Limit is the Sky is an official selection at DOXA 2017, you can check it out in Vancouver during the festival from May 4th-14th.

The Ins and Outs of Filming a Sex Scene

beginnings of a sex scene
Sex, drugs, murder, and copious amounts of profanity. Watch enough student films and you’re apt to see each of these elements play a part, sometimes all within the span of a few minutes. Aside from making excellent points of reference for a drinking game conducted at a short film festival, there is a legitimate reason that directors and actors are attracted to R-rated material for their films: when done correctly, it can demonstrate the competence that comes from successfully navigating a creative challenge.

Today we’re going to focus on the sensitive subject of nudity and sex scenes, and how to handle them professionally on set.



Before you begin preparation on a scene that requires one of your actors to strip down to little more than a modesty sock, ask yourself if such a scene is absolutely necessity to your film. It can be easy to write a nude scene into a script or treatment, but actually making it happen can complicate the process of casting, shooting, and screening your film. Consider possible alternatives, and whether or not a lack of nudity and on screen sex would have a negative impact on your film.



The first step to working successfully with actors for scenes that include nudity or sexual content, is to make your intentions clear from the very beginning. Specify in your audition notice that the role will include nudity, and explain the nature of the scene– whether it’s sexual in nature or not. The initial audition with the actor should be entirely about their acting ability, and absolutely should not require any hopefuls to appear nude for the camera.

Shortlisted actors can be requested to return for a callback, and if any nudity is required of them at this point it must be explicitly stated. Only required crew members should be in the room during this time, and if footage or photographic images are taken at this point, it must be with the actor’s permission.



Contracts are an extremely important part of this process, as they protect the rights of both the actor and the filmmakers. Put into detail exactly what kind of scenes will be filmed and the amount of nudity, especially what will be required from the actor and what will actually be shown in the finished film. There are many ways to cheat nude scenes that allow the actor to remain partially dressed, so it’s important to work with the actor to determine what is necessary for the film and what they are comfortable doing. It may go without saying, but there is no actual penetration or genital-to-genital contact during a scene like this, as all sexuality activity is simulated.



When it comes to the day of shooting your scene, there are several things you can do to ensure the actor and crew are comfortable on set, and the aforementioned contract is not breached. First, the set should be “closed,” which means that only crew members that are indispensable will be present, and no outsiders will mistakenly walk in during a take. A robe should be close at hand for the actor to wear between any pauses during filming. To avoid overly graphic crotch shots (and possibly a NC-17 rating), the wardrobe department can prepare flesh coloured pads, underwear, or a bodysuit to minimize the amount of the body actually shown.


Shooting these kinds of scenes can be a very vulnerable moment for actors. They are putting their trust in the director and crew to behave professionally, and not do anything to demean or exploit them. Sex is a natural part of life, so it makes sense that they should sometimes be included in our storytelling, but the actual act of filming these scenes can be very awkward and potentially embarrassing. Use your good judgment, respect your actors, and use this opportunity to be a positive role model for the rest of the crew.



When considering whether or not to include a scene that includes nudity or sexual content in your film, look into the experiences of other filmmakers to see if it seems like it’s worth the work required. Most of these links contain materials that are NSFW.

Some great accounts include:

The Independent: This is what a film sex scene actually looks like on set (mostly awkward)

NY Times: Shooting Film and TV Sex Scenes: What Really Goes On

Marie Claire: What it’s REALLY like to do a sex scene…

Vulture: Three Actors Reveal the Awkward Truth of Shooting Sex Scenes

Mess Nessy: How Sex Scenes in Film/ TV Really Work



It may come as a surprise that film scenes with sex and nudity are really quite technical and awkward. Communicate with your actors and crew, act respectfully and put everything into writing. If everything goes right, you’ll have some great footage, a happy cast and crew, and a salacious scene that’ll get audiences talking.

Film Festival Tips for New Filmmakers

If you love filmmaking, overdosing on popcorn, and waiting in line ups, then you’ve probably seen a film at a film festival before. Festivals have a certain exciting frequency to them as audience members, celebrities and filmmakers all enjoy the same viewing screen. But for a new filmmaker, festivals can be daunting new territory.

InFocus alumni Sarah Race’s student film, Barbarian Press (2016), has been screened at a dozen festivals around North America. Race felt clueless when she entered the festival world—but even though she spent more money on festivals than on the cost of her film, it was all worth it. “To me, it was all about the experience, about all the amazing people I met, how awesome people were, and all the learning curves,” said Race.

Race was encouraged to submit Barbarian Press (2016) by her InFocus instructors, and her film won official selection at Hot Docs in 2016. The decision to take the festival route has been very beneficial for her networking but has limited the potential audience for her film, as opposed to if she had posted her films on an online platform like Youtube. “Film festivals only have a very small audience of a specific sort of people that go to film festivals,” she said.

One of the biggest factors discouraging filmmakers from entering festivals is the cost. It can be expensive to pay for application fees, and then transportation and lodging in the city of the festival. Race said it was expensive but still important to attend the festivals for networking purposes. “You’re there to network and meet people, and maybe eventually those things will pan out to money making.”

Janalee Budge, another InFocus alumni, also took to the festival scene with her documentary In the Blink of an Eye (2016). She has received multiple awards and screenings, including official selection at the Whistler International Film Festival. She said the festival application process was overwhelming and expensive, but she feels that the ‘award winning’ title has its benefits. “To be able to say that [my film has] gone to a festival seems to have a fair bit of weight when you’re talking to people about future hiring,” said Budge.

Budge entered her film into festivals mostly out of curiosity. “I wanted to know if it was going to be interesting to people that weren’t my friends and family,” said Budge. Once the festival began, she was hooked. “I loved going to all the events and for the first time being part of the industry side as opposed to just the filmgoers,” she said.

Aside from the red carpets and events, festivals can be a very busy time for filmmakers. According to Sarah Race, “You have to do a lot of work when you’re there, like bring postcards or just talk to people.”

Of course, choosing to submit your film into festivals all starts with the daunting task of the application process. It can be overwhelming to sift through hundreds of festivals online, each application with its own expensive entry fee and specific requirements. Setting a budget for your festival applications and applying only to the most relevant festivals to your film is recommended. Race suggests focusing submissions on festivals that have a similar theme to your film, such as festivals that are focused on mountain films or skiing if that’s the topic of your film. She also says to be wary of premiere requirements, as some festivals require a film to be a world, national or provincial premiere and your film only gets one of each.

Not every film is destined or designed to go into the realm of film festivals, but those that do successfully find themselves as an Official Selection at a festival can look forward to the title of award-winning filmmaker and proudly display their laurels.

Shooting Without a Script: Improvised Cinema

Drinking Buddies (2014), an improvised movie

No matter how much care a screenwriter may put into their script, it only takes one rogue actor with a penchant to ad-lib to completely derail their meticulously written dialogue. There are a number of infamous scenes that have come from this process. Perhaps one of the most iconic scenes is in Raiders of the Lost Ark (1981), when a swordsman, theatrically brandishing a sword, confronts a weary Harrison Ford, who had been recovering from a bout of dysentery on set. With the expectation that an elaborate fight would follow, audiences were surprised and delighted when Ford simply pulled out his gun and blasted his foe away. This improvised moment resonated with fans because it felt fresh and unpredictable in an otherwise polished film.

But what would an entirely improvised film look like?

In the last several years, there have been a number of celebrated films that were shot with only a script outline, giving the actors freedom to explore their characters in an organic way. Mark and Jay Duplass have used this method for many of their films, ushering in what is known as the Mumblecore Movement with their feature-length debut The Puffy Chair (2005). Eleven years later, their experience in this narrative execution culminated in the critically acclaimed improvised film Blue Jay (2016),

The list of directors who work within this world of improv goes on: Joe Swanberg with Drinking Buddies (2014) and the Netflix series Easy (2016), Lynn Shelton with Humpday (2009) and Your Sister’s Sister (2011), and Ben and Joshua Safdie with Daddy Longlegs (2009) and Heaven Knows What (2014), among a host of other directorial talent.

So, what drives a director to want to create an unscripted film? The budget and condensed timeline can be equally enticing draws for the independent filmmaker. The majority of unscripted films are made on micro-budgets, often within a matter of weeks. Another factor is having a story outline that is driven by strong characters and naturalism, where dialogue may feel more authentic if improvised.

If this process intrigues you, here are a few pointers on making your own unscripted film:


  1. Start With a Strong Outline

Identify what your film is about, who the characters are, and what is at stake for them. Outline each scene with the location, cast, and ultimate purpose. Each major cast member should have a written backstory to help guide and justify their actions. The more preparation you do ahead of time, the more freedom the actors will have on the day of the shoot.


  1. Find Your Collaborators

Even more so than traditional filmmaking, improv cinema is an intensely collaborative process, and it takes a flexible and open-minded person to truly excel at it. Recruit your cast and crew with that in mind.


  1. Schedule Time for Rehearsal

A strong actor isn’t necessarily a gifted improviser, and it’s important to leave time for your cast members to develop trust and a sense of familiarity with one another before you go to camera. Consider having your actors improv scenes that won’t appear in your film but are significant parts of their back story. A scene that explores where the characters first met, or shared a secret, or had their first big fight will contribute to the depth of their performance during the actual shoot.


  1. Have a Multi-cam Setup

One of the greatest assets of improvisational cinema is also its greatest challenge: every take is going to be different. Shoot with a minimum of two cameras to ensure you get enough coverage and options for editing.


  1. Get Creative with Financing

Fundraising for an improvised film can be tricky. In Canada, most funding sources require an extensive outline of the project, including a completed screenplay. The bulk of unscripted films are made with minimal budgets, a reality that has filmmakers cutting corners and utilizing unconventional practices during their shoots. Brian McGuire shot his feature Prevertere (2013) by dollying his cinematographer through downtown in a wheelchair to avoid purchasing a filming permit and by posing as a wedding videographer to capture a cinematic scene.


Unscripted filmmaking takes a fearless director and a cast and crew who are willing to break the mold to create their next big project. Do you have a favourite improvised film? Let us know in the comments!

Women in Film: Where They Are and How Far They’ve Come

InFocus celebrates Women in Film

by Renee Sutton

International Women’s Day is a global celebration of the social, cultural, and economic achievements of women around the world, and an opportunity to celebrate and reflect on some of the most badass women in film, both in history and today.

The role of women in the film industry has changed dramatically since the early days of Hollywood, when most women on set were on-screen bombshells or at least deemed marketable by the big studios. While film is statistically still a male-dominated industry, more and more women are moving into key creative positions and making highly acclaimed and celebrated films in both the independent and studio world.

Despite the adversity, there have always been women who persevered and shone in the film industry. Even during the early decades of Hollywood’s first century, there was Dorothy Arzner, the only working female director in America in the late 20’s and 30’s. She made 3 silent movies and 14 ‘talkies’ during her 15-year career as a director, and was the first female member of the Directors Guild of America.

The modern film industry has many more women working behind the scenes, but still at a ratio of five men to every one woman, according to the New York Film Academy. In the entire 89-year history of the Academy Awards, only four women have been nominated for Best Director; Lina Wertmüller for Seven Beauties (1975) in 1976, Jane Campion for The Piano in 1993, Sofia Coppola for Lost in Translation in 2003, and Kathryn Bigelow who was the first and only woman to win Best Director for The Hurt Locker in 2008.

Originally from California, Kathryn Bigelow began her creative career as an accomplished painter before studying film theory. She started by making short films, and had early success directing features with Point Break in 1991 and, more recently, the acclaimed Zero Dark Thirty in 2012. Bigelow was the first woman to win a BAFTA award for Best Director and to win the Directors Guild of America award for directing a feature.

While less than 30 percent of all key creative positions (directors, writers, producers cinematographers, and editors) are held by women today, according to a 2013 study by Sundance Institute and Women in Film, the number of female documentary directors and producers is drastically higher now than it was in the past. Women are much more prominent in the production of documentaries than in that of narrative films. Women make up nearly 50% of documentary directors and producers but less than a quarter of narrative feature producers and directors.

Even though their numbers comprise a lower percentage of filmmakers in the industry, female filmmakers are constantly breaking new ground. American director, screenwriter and distributer Ava DuVernay began working in film publicity to market movies to African American audiences in the 90’s. The documentary This is the Life (2008) was her directorial debut. Her second narrative film, Middle of Nowhere (2012), won DuVernay the Best Director Award in 2012, making her the first female African American to receive this award. In 2014, she was also the first female black director to be nominated for a Golden Globe and an Academy Award for her film Selma (2014).

Looking a little closer to home, Canada also has many inspiring and successful female directors. Alanis Obomsawin has been directing films since 1971 and has nearly 50 directing credits with the NFB. While originally born in New Hampshire on Abenaki Territory, Obomsawin was primarily raised in Quebec. Before her film career, she toured as a singer/song writer and activist, eventually moving on to make films that address the struggles and perspectives of aboriginal peoples living in Canada, including 270 Years of Resistance, her best-known film from 1993.

Canadian actress Sarah Polly also shifted into directing films and is leading a very successful career as a director. Her 2006 feature film debut, Away from Her, was nominated for an Academy Award for Best Adapted Screenplay and won multiple Genie awards, including the first female to receive the best achievement in direction award. Her films Take This Waltz (2011) and Stories We Tell (2012) were both named one of Canada’s top ten features of the year by the Toronto International Film Festival.

Vancouver-based Julia Ivanova is a passionate director, editor and cinematographer committed to making documentaries that break individual and social perceptions. She has directed and edited multiple full-length feature documentaries, including Family Portrait in Black and White, which won best Canadian feature at Hot Docs in 2011, and Limit is the Sky (2016), which premiered at the Calgary International Film Festival 2016 and will be screening in Vancouver at DOXA this year.

You can celebrate women in film at the 2017 Vancouver International Women in Film festival from March 8-12 at the VIFF Vancity Theatre, or you can check out any of the films on this IMDB list of 200 films directed by a woman.


Renee is a Vancouver-based freelance videographer and editor.  Since graduating from InFocus Film School, Renee spends most of her time editing video projects and creating social content for online platforms, but she also enjoys creating environmentally-aware short documentaries and travel videos.

Prompt Your Way to Better Screenwriting


Margaret Atwood eloquently captured the struggle of many emerging writers when she said: “If I waited for perfection, I would never write a word.” Although it’s much more romantic to imagine screenwriting as a god given talent rather than an acquired skill, the truth is that the key to becoming a skilled screenwriter is to take risks, make mistakes, and practice, practice, practice.

The hardest part of improving your screenwriting skills is mustering up willpower to dedicate some time each day to work on it. The easiest part is finding screenwriting prompts online. There is a wealth of free and easily accessible exercises that will help cut through even the most stubborn writer’s block.

Here’s a few of our favorites:

One Word

Only have a minute to unlock your creative genius? One Word gives users a single word to use as a prompt, and sixty seconds to write about it. After the time has elapsed you are invited to submit what you have written, and to read what others managed to come up with in the same span of time. It’s exposure therapy for perfectionists, and after a few rounds it may prove to be both addictive and liberating.  

Sample Prompt: Pawn

Think Written

This massive list of 365 writing prompts will save you from clicking through pages to find something that inspires you to write, or give you enough material for an entire year worth of sessions. Stretch your writing muscles and try to fill these prompts through a variety of writing styles– with poetry, prose,, lyrics, screenwriting and creative non-fiction.

Sample Prompt: Go to Wikipedia and click on Random Article. Write about whichever page you get.


Reddit proves that it has more to offer than an endless scroll of memes. This writing community has nearly ten million subscribers and dozens of creative (and frequently humorous) prompts daily. There is quite a lot of content to sort through, so consider sorting by the top links of all time.

Sample Prompt: A friendship between a time traveler and an immortal. Wherever the time traveler ends up, the immortal is there to catch him up to speed.

Writing Prompts

If you prefer the text of your writing prompts to be accompanied by images, then this Tumblr site is for you. With an extensive collection of prompts rich in humour and focused on pop culture, this site may make your daily exercise a little more fun.

Sample Prompt: Unsinkable + Undead: A zombie plague breaks out on the Titanic.

Writer’s Digest

Posted weekly, with a back catalogue of hundreds of prompts spanning from 2011, Writer’s Digest is an excellent resource for varied and interesting prompts that are sure to kickstart any story.

Sample Prompt: Write a story about three people who are on a road trip together, only to stop off at a gas station and pick up a fourth person whom they don’t know. Why did they pick this person up? Where are they taking him/her? What happens?

What is your go to cure for writer’s block? Comment on our Facebook page and join the conversation!

Starting Your Own Film Production Company

Running your own film production company is an appealing prospect: being your own boss, hand-picking projects and being intimately involved in all aspects of production. Whether you are striving to make a living, or creating a launching pad for passion projects, here are a few factors to consider.


It’s a question that can get swept under the rug in all the excitement and possibility: do you have what it takes to run a film production company? Are you ambitious? Dedicated? Driven? You will develop and gain new skills throughout the process, but you must be realistic about your strengths and weaknesses.

Michael E. Gerber, author of the E-Myth series on small businesses identifies the three personalities that are vital for every company to succeed: a visionary, a manager and a technician. It’s likely that you have qualities of each of these roles, but it takes a balance of creativity, reliability and logic to be truly successful.


With your first business venture it’s easy to fall into the territory of the classic quote: “Jack of all trades, master of none.” While you should consider every opportunity that comes your way, choose what your creative focus is going to be and build your portfolio accordingly.

Take an inventory of your own skills, experience and connections and decide what you’d like to pursue. A good rule of thumb is to choose one lucrative field (promotional videos, commercials, event cinematography) and take part in passion projects you have the time for. And always consider your clientele – if your company focuses on wedding videos, it might not be a good idea to highlight your slasher zombie flick in the same space.


Never underestimate the power of a solid portfolio. Although the film industry is built on networking, connections and self-promotion, eventually it comes down to your body of work. A word of warning: finding a balance between making money and making a good product will be difficult when you first start out.

There are always going to be people who ask you to work for free, and you should consider it from a business perspective before making your decision. Will the job be a positive addition to your portfolio? Will it provide immediate benefit – promotion, connections or the opportunity to work with someone you admire? Will it just be something you’ll enjoy doing with your friends?

You will have to compromise to establish yourself in the industry, but always remember the value of your time and capabilities – and don’t undersell yourself.


The amount of time you spend establishing a professional presence online, contacting potential clients and promoting yourself is going to be proportional to the amount of work you get. As the legendary businessman P.T. Barnum once said, “Without promotion, something terrible happens… nothing!”

Make a website, print business cards, go out to shake hands and kiss babies. It may feel a little strange at first, but unless you already have an established list of clients, you need to do what it takes to get your company’s name out there.

Connecting to other industry professionals is fantastic way to do this, and there are a ton of resources to facilitate this. Join every film industry club you can find, go to networking events and don’t be afraid to let people know what your company is working on. Be confident, professional and enthusiastic and people will remember you.


 Clayton Goodfellow, founder of Georgia Street Media and an instructor at InFocus Film School has grown his film production company exponentially in the seven years since it was established.

“We started very small – it was just me working out of my apartment initially.” Clayton remembers, “ I was the producer, camera operator and editor. We added two contractors and…moved into a very small office space. How small? Basically it was like 80 Sq Feet with ceilings under 6 feet in height. We lovingly called it the ‘seven-and-a-half floor’ like the one from Being John Malkovich.”

Georgia Street Media now resides in Coal Harbour – “with higher ceilings,” Clayton notes. Through his company he has worked with a number of high profile clients, including The Vancouver Canucks, Best Buy and CTV. Clayton cites hard work, professionalism and approachability as factors that have led to his success.

Providing a piece of advice for emerging filmmakers who are interested in starting their own company, Clayton suggests learning everything they can about business. “Take a night class, read some books on organizational behaviour, develop some routines for regular processes and workflows. If you have the right work ethic and a vision for the future, success is sure to follow.”

Four TV Shows That Got Their Start Online

image of broad city stars ilana glazer and abbi jacobson

With networks like Comedy Central, HBO and truTV now picking up webseries as full length shows, the race to produce marketable content is on. Here are four tv shows that got their start online:

Drunk History
On August 6th, 2007 Mark Gagliardi drank a bottle of Scotch…and then discussed a famous historical event.

True to its name, the premise of Drunk History is based on an inebriated narrator attempting to retell an historic event in American history, with dramatic recreations shot to illustrate the story. The webseries was launched by Funny or Die in 2007 and featured an impressive rotating cast of comedic talent.

In 2010 the episode titled Drunk History: Douglass & Lincoln, starring Will Ferrell and Don Cheadle, screened at the Sundance Film Festival and took home the award for Best American Short.

Will Ferrell and Adam McKay came onto the series as executive producers, and Comedy Central picked it up for a series, which premiered in 2013. The show is currently in its third season.

 Jake and Amir

In 2007 two CollegeHumour writers Jake Hurwitz and Amir Blumenfeld began shooting short comedic videos in their office where they played exaggerated versions of themselves, Jake as the sensible straight man, and Amir as his obsessive and socially offensive co-worker.

The series grew in popularity and ran for eight years, gaining around half a billion views over its seven-hundred and fifty episodes. In 2015 it concluded, with the final eight episodes airing online. After a plan to launch the webseries as a show on TBS fizzled out, a social media campaign #GreenLightJakeandAmir prompted truTV to order a pilot of the Jake and Amir TV show.

Broad City
Upright Citizens Brigade alumni Ilana Glazer and Abbi Jacobson first introduced Broad City as a webseries in 2010, following their misadventures as two young women living in New York City. Playing fictionalized versions of themselves, Glazer is a marijuana-loving slacker and Jacobson is a struggling illustrator.

The webseries gained popularity and attracted the attention of Amy Poehler, who became an executive producer on the show and acted as a mentor to Glazer and Jacobson, helping them develop the show into a television series, Broad City premiered on Comedy Central in early 2014, and was received with praise from both critics and the public. The show is currently in its third season.

High Maintenance
In 2013 High Maintenance was launched as a partnership between show creators Ben Sinclair and Katja Blichfiel and Vimeo, as the site’s first original series. The show follows an unnamed drug dealer as he delivers marijuana to a diverse host of clients in New York City. Each episode features a new cast of characters.

While the first several episodes were released for free, the show retuned for a second season via Vimeo On Demand with a longer run time and a price tag attached. This proved to be a lucrative play, as High Maintenance quickly became one of the all-time top-selling releases on the site.

The webseries made the final move to television when it was announced in 2015 that HBO had acquired the series. Along with a new season they re-released past episodes of the show on their network as well as HBO GO and HBO NOW

Bonus round! Here are four other tv shows that got their start online:

  • Web Therapy – picked up by Showtime in 2010
  • Ugly Americans – picked up by Comedy Central in 2010
  • The Annoying Orange – picked up by The Cartoon Network in 2012
  • Children’s Hospital – picked up by Adult Swim in 2009

Ten Best Romantic Comedies Of The Past Ten Years

By Kryshan Randel

Most of these romantic comedies are not typical additions to the genre. They all feature romance and comedy as central plot points, but beyond that, anything is fair game. The best love stories are the most unexpected ones!

1. LA LA LAND – Starts out as a clever tribute to classic musicals, then finds its own voice and rhythms, breaking free from tradition while simultaneously honouring its inspirations. Emma Stone is incredible as a wannabe starlet, selling both the intoxicating fantasies and stark realities bouncing playfully off of each other, complete with drastic lighting and music cue changes.

2. FRANCES HA – Hilarious, playful and neurotic like the best Woody Allen films. Greta Gerwig is contagiously charming, and the black and white New York stories that surround her are constantly bursting with no-budget romance, innovation and joy.

3. SCOTT PILGRIM VS. THE WORLD – Michael Cera fights off his girlfriend’s seven evil exes, viewing life as a video game and winning his lady’s love as the ultimate hero’s journey. More fun than a dozen superhero blockbusters, Edgar Wright’s love letter to the pop culture he grew up with is a dizzyingly fast paced and consistently inventive ride.

4. GREENBERG – I agree with Roger Ebert’s review of this one in which he states that a hero doesn’t always have to be liked, but he has to be understood. Ben Stiller plays a selfish bastard who refuses to grow up, meeting Greta Gerwig who is trying to figure out her role in life. Together, and apart, they create scene after scene of awkward comedy gold.

5. YOUNG ADULT – A former popular high school girl returns to the small town where she grew up, determined to win back her old flame twenty years later, who is now happily married with children. As her behaviour gets worse – denial, narcissism, extreme immaturity – the comedy gets better and better. Diablo Cody’s best script to date.

6. RUBY SPARKS – A lonely writer’s female creation comes to life. Everything he writes initiates her actions, until she turns against him. This high concept film starts routinely, then becomes brilliantly subversive when it deconstructs the romantic comedy genre, and its lead’s fragile male ego, during the emotionally raw and volatile third act.

7. I LOVE YOU PHILLIP MORRIS – Jim Carrey portrays a con artist working his way into dozens of fake-it-til-you-make-it situations. During jail time, he falls for fellow convict Ewan McGregor before his release, then creates more deceptions in order to get them back together. A relentlessly astounding farce, based on a true story, featuring one of Jim Carrey’s most outrageously committed performances.

8. THE SILVER LININGS PLAYBOOK – Director David O. Russell has a gift for taking potentially cliched scenarios and making them feel so alive, spontaneous and possessed with manic reinvention that they seem brand new in his hands (see also THE FIGHTER). Rooting for two romantic lead characters with mental health challenges played by Hollywood stars is not an easy feat to pull off, but here even the most sentimental moments feel remarkably honest, or at least fully lived in.

9. KNOCKED UP – Goes further than most rom-coms before or since. The reluctant turn to romance after accidental pregnancy makes everything seem fresh and twisted in more ways that one, and the laughs come from very unexpected places.

10. ADVENTURELAND / SING STREET (tie) – Two ’80s tributes that really know their era. Kristen Stewart and Jesse Eisenberg are perfectly matched in ADVENTURELAND, and The laughs stem from character, time and place in equal measure. SING STREET is a pitch perfect coming of age musical love story that doesn’t stray far from formula (start a band to impress a girl), but who cares when it’s this well executed?