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From Distribution to Producing with Jonathan Hlibka and Ryan Keller - Ep #68
Want to understand what it takes to understand the film industry? Listen to this episode! A distributor and a lawyer get together to create an independent film production company. Leslie talks with Jonathan Hlibka and Ryan Keller about the transition into production and the high-wire act it takes to get a film made.
Jonathan Hibka & Ryan Keller
Seeing the world change so quickly on 911, I took a step back and focused on
developing music and writing for film. Around that time is actually when I met Ryan Keller. I
had seen how hard it was to get projects made so I quite literally jumped into producing music
videos, short films and selling clients commercials - while working full time. Quite literally
grinding every day. When we originally conceived of what is now Other Animal, Ryan and I
had been reading reams scripts. We were both looking for a raw story that we could get made
on a slim budget, in the hope that it could attract exceptional talent to support our vision.
Somewhere in the first 6 months, after countless scripts read and forgotten, I was on a
Megabus to Montreal going to get a smoked meat sandwich at Schwartz’s. Laptop open and
phone in hand, Ryan calls me and says “you need to read this script.” It was a draft of what
would become our first feature, Poor Agnes. The lead character Agnes, that Lora Burke went
on to play, tore her way through the pages with no mercy or remorse. I think I called him back in like 20 min of reading it and saying, ‘Fuck, I’ll put the money up, let’s get this made.”
I pulled the financing for the film from the commissions I’d retained in my indie
distribution company. I was selling indies to TV, VOD, and Theatrical, which in Canada means
begging 3 broadcasters to ‘just watch it’ and traveling from cinema to cinema convincing the
reluctant owners to book amazing films. When we premiered Poor Agnes, I remember distinctly the silences and gasps of the audience. Then the eruption of applause, the audience was completely taken. Going into Happy FKIN Sunshine, we weren’t looking to re-create Agnes, our goal was building on our vision. We were seeking out truly raw and authentic talent who could pour them selves into the story.
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By Leslie LaPage
4.8
1616 ratings
Want to understand what it takes to understand the film industry? Listen to this episode! A distributor and a lawyer get together to create an independent film production company. Leslie talks with Jonathan Hlibka and Ryan Keller about the transition into production and the high-wire act it takes to get a film made.
Jonathan Hibka & Ryan Keller
Seeing the world change so quickly on 911, I took a step back and focused on
developing music and writing for film. Around that time is actually when I met Ryan Keller. I
had seen how hard it was to get projects made so I quite literally jumped into producing music
videos, short films and selling clients commercials - while working full time. Quite literally
grinding every day. When we originally conceived of what is now Other Animal, Ryan and I
had been reading reams scripts. We were both looking for a raw story that we could get made
on a slim budget, in the hope that it could attract exceptional talent to support our vision.
Somewhere in the first 6 months, after countless scripts read and forgotten, I was on a
Megabus to Montreal going to get a smoked meat sandwich at Schwartz’s. Laptop open and
phone in hand, Ryan calls me and says “you need to read this script.” It was a draft of what
would become our first feature, Poor Agnes. The lead character Agnes, that Lora Burke went
on to play, tore her way through the pages with no mercy or remorse. I think I called him back in like 20 min of reading it and saying, ‘Fuck, I’ll put the money up, let’s get this made.”
I pulled the financing for the film from the commissions I’d retained in my indie
distribution company. I was selling indies to TV, VOD, and Theatrical, which in Canada means
begging 3 broadcasters to ‘just watch it’ and traveling from cinema to cinema convincing the
reluctant owners to book amazing films. When we premiered Poor Agnes, I remember distinctly the silences and gasps of the audience. Then the eruption of applause, the audience was completely taken. Going into Happy FKIN Sunshine, we weren’t looking to re-create Agnes, our goal was building on our vision. We were seeking out truly raw and authentic talent who could pour them selves into the story.