IDEALABX

Canadian Work

National Bank, Building The Future of Tennis

Dir: Jodeb, denim

Agency: LG2

Canadian Work

Tim Hortons - Poppin Frozen Quenchers

LINK: https://lbbonline.com/work/174208

Canadian Work

Tennis Canada - WEAR RED AGAIN

Out of: SidLee

https://lbbonline.com/work/174009

Casting

Haunting of Hill House

Link: https://www.youtube.com/watch?v=RmZg48UvAjM

The Show

The plot alternates between two timelines, following five adult siblings whose paranormal experiences at Hill House continue to haunt them in the present day, and flashbacks depicting events leading up to the eventful night in 1992 when the family fled from the mansion.

Anthology Series

Created by Mike Flanagan (who often works with the same cast and crew members.)

The Scene

This is a part of an episode where a lot of pieces come together

Slowly the audience is understanding the realities of a lot of the moments we have seen

Nell is hallucinating

The Bent Neck Lady

The Actor

Victoria Pedretti, The Haunting of Hill House (2018) and The Haunting of Bly Manor (2020), and in the Netflix thriller series You (2019–2021)

This was her break out role

Melodramatic style

Scream Queen

Why it Works

Pedretti takes us through a breaking point moment in the series.

With no words she must communicate this characters final moments and her disillusionment with reality

The Relevance

Stylized moment we might see in a PSA

This scene is told completely with no diagloue

Casting

Mommy - "You're just like your father"

Dir. Xavier Dolan

Casting Director: Nathalie Boutrie

The Casting Process

Anne Dorval was the known quantity. This was her fourth film with Dolan, going back to his 2009 debut I Killed My Mother, where she also played a mother to a difficult teenage son. Casting her here was closer to calling in a longtime collaborator than holding an audition; the two of them already had a shared language on this exact dynamic.

Antoine-Olivier Pilon was a gut-call discovery. Dolan cast him after directing him in Indochine's "College Boy" music video (2013) and, by his own account, decided "in a second and a half" that Pilon could carry a lead. Pilon had no significant film résumé before this. Dolan built Mommy around him, drawing on a Ludovico Einaudi track he associated with Pilon after that shoot.

That's a real mismatch in casting method: one actor cast on a decade of trust and history, the other cast almost entirely on instinct from a three-minute music video.

The Chemistry

By multiple accounts, the rapport between Dorval and Pilon "developed easily, quickly, without even thinking about it" — there wasn't an extended rehearsal period built to manufacture familiarity between them.

Dorval has said that from the first table read, Pilon "already seemed like he would be the revelation of the film," praising his maturity and intelligence for his age — a veteran actor publicly vouching for an unknown scene partner is itself a useful signal when you're building trust between an experienced lead and a newcomer on one of our sets.

Co-star Suzanne Clément described the set dynamic as one of real complicity between Dolan and his actors, saying "it seemed like they were one." That points to a director who casts for trust and then gets out of the way once the cameras roll.

Pilon has said Dolan is the only director he's worked with who's also a friend, and that the set ran on genuine fun. Worth noting: Mommy is a heavy, volatile film, and that lightness on set is exactly what made it possible to go to those places on camera.

The Actors

Anne Dorval plays Diane "Die" Després. A veteran Québécois stage and screen actress, she was singled out by critics for a "force-of-nature" performance, "brilliantly controlled" against the volatility around her.

Antoine-Olivier Pilon plays Steve O'Connor Després. Mommy was his breakout role, shot in the same boxy 1:1 aspect ratio Dolan had used on the "College Boy" video that got Pilon cast. Reviewers described his performance as "explosive," "alarming, engaging and totally off the charts," with one calling it one of the strongest performances by a young actor that decade.

What Makes the Pairing Work

A known quantity opposite raw, unpolished energy. Dorval's control gives Pilon's volatility somewhere to land. Critics consistently framed her performance as "controlled" against his "explosive," which reads like a deliberate casting balance.

Trust replaced rehearsal. Dorval already had a working shorthand with Dolan, and Dolan had already decided Pilon could carry the film off a single music video. Neither actor needed to be "found" during the shoot, so they could work off each other in the moment on set instead of leaning on a pre-blocked plan.

A newcomer who wasn't asked to act like a veteran. By most accounts, Dolan built the film around Pilon's inexperience instead of smoothing it out. It's a useful reminder that a raw, first-time performer opposite a strong pro can be exactly the right call on our own castings, too.

What This Means for Casting Mother-Son (or Any Family) Pairs

Consider deliberately mismatched casting methods. Pairing a known, trusted performer with a discovery, someone found through a reel, a social clip, or a one-off shoot instead of a traditional casting call, can produce a more textured dynamic than pairing two actors from the same audition pool.

Chemistry reads should test rapport. Watching two people improvise or just talk to each other in the room tells you more than a read of the actual scene does; the ease (or lack of it) shows up immediately.

Budget for trust-building. Mommy got this dynamic with very little formal rehearsal because the director had already built trust with both actors individually. On a commercial timeline, that could mean putting more time into an informal chemistry reads.

Casting

The Chair Company - At His Limit

Grounded absurdity - the performances are completely sincere, even though the situation is ridiculous.

Why Tim works

Tim Robinson never plays the joke.

He commits to every scene as though the stakes are life or death, which makes even the most absurd dialogue believable. Rather than performing "comedy," he performs genuine frustration, embarrassment, or determination, allowing the humour to emerge naturally.

His biggest strength is that he feels like a real person whose emotions are just dialled slightly too high, instead of a sketch character. That style has become hugely influential in modern comedy through Detroiters, I Think You Should Leave, Friendship, and now The Chair Company.

Jared Lindner (the eBay seller / menswear store owner)

The other actor in this sequence is Jared Lindner. Interestingly, he isn't a trained actor—he co-owns a real menswear store that production scouted. Tim Robinson met him while location scouting and cast him because of his incredibly natural cadence and unique personality.

Casting adjectives

Why he works

He feels like someone you'd actually meet.

Nothing feels "performed." His line delivery is slightly unusual, his pacing isn't polished, and his reactions feel completely genuine. Those imperfections actually make the comedy stronger because they create the feeling you're watching real people rather than actors trying to land jokes.

This is becoming a hallmark of Tim Robinson's work - casting people with naturally interesting rhythms instead of conventionally comedic performers

1. Character-first comedy

Most successful Canadian comedy commercials aren't built around punchlines.

They're built around:

recognizable personalities

believable behaviour

awkward social dynamics

subtle reactions

The humour comes from behaviour rather than jokes.

2. "Interesting faces"

Neither performer looks overly polished.

Casting like this moves away from "commercial handsome" toward people who feel lived-in and memorable. Canadian casting directors have increasingly embraced this approach because authenticity sells better than perfection.

3. Commitment

Nobody winks at the audience.

Everyone behaves as though the situation is completely normal.

#casting #Youtube

Casting

Your Friends & Neighbors — Sam's Skincare Store Takedown Scene

Sam played by Olivia Munn

Keely played by Natalie Buck

Olivia Munn has described it as the moment Sam is on the verge of losing everything, at the peak of that pressure, everything she's fought to hold onto is slipping away, and the sales associate becomes the unlucky target of that explosion. It's a small, almost comic release valve for a character who's otherwise buttoned-up, and in hindsight it hints at the bigger reveal about her that comes later in the season.

"What I loved about that scene was that Sam is on the precipice of losing everything, and that’s where we meet her in episode one. And by that point in the show, she’s at the apex of that. Everything that she is desperate to hold on to is literally at the very end of her fingertips, and in that moment, everything just explodes. That salesperson is the unfortunate recipient of all of that. But in that moment, it’s all the energy she’s put into not only holding on to it but to have created it. She’s had so much ambition and drive in her life to get to the top of the social mountain and have this incredible wealth. Not only has she been desperately trying to hold on, but she’s watching this just disintegrate in her hands."

What the scene demonstrates

Contained-to-explosive range in a short beat. Munn starts polite/composed and lets pressure leak out gradually before the emotional turn. For a commercial, that's valuable because you often only get 15-30 seconds to land a character shift.

Specificity over generality. Munn plays it grounded in a very particular frustration (not "generic angry customer") that specificity is what makes it feel real instead of performed.

Comic timing married to real stakes. The scene works because it's funny and uncomfortable at the same time, Munn has to sell both.

Reactive listening. Part of what sells it is how she's reacting to the other actor (the sales associate) not just delivering a monologue.

#casting #Youtube

Casting

Michael Caine - The Muppet Christmas Carol (I'm serious)

Link: https://www.youtube.com/watch?v=u1BVG7WUStU

“I’m going to play this movie like I’m working with the Royal Shakespeare Company. I will never wink, I will never do anything Muppety. I am going to play Scrooge as if it is an utterly dramatic role and there are no puppets around me.” - Michael Caine for the Guardian, 2015

The Scene:

At the end of a long work day Bob Crachitt (Kermit the Frog, Steve Whitmire) requests the day off for Christmas the next day.

Scrooge (Michael Caine) thinks it is a waste of time and money, but ultimately allows it.

The Actor: Michael Caine

Caine got his start on stage, before transitioning to screen acting in the mid 60s. By the 80s, when this film was made, he was an established name for dramas, and especially period piece films, a switch from his early career as dashing soldiers and spies. He was a name audiences would expect a certain performance from.

The Casting Process:

The film was directed by Brian Henson (Jim Henson's son) who was a first time director. He knew he wanted a grounded actor to play scrooge, and producer Jeffrey Katzenberg eventually put forward Caine. After early talks, he was deemed the right fit, and joined on for the film. Caine agreed to do the role because he wanted to be in a film his children could watch.

Why is This Relevant to Us?:

This is a good example of a straight man performance that resonates with people. He plays the serious character in a world of crazy nonsense, and it makes the world make sense. People to this day shout out this performance as being the highlight of the film.

A lot of ads have actors playing against fictional characters, or in generally heightened conditions. Being a normal person in a fantastical world is a classic trope that ads can often use. This performance shows the strengths of keeping it serious.

This could be a great performance reference for a rude old guy character, especially if they have to perform across from something fun.

Honorary performance shoutout as well Steve Whitmire! The first person to play Kermit the Frog after the death of Jim Henson.

Casting

Hacks - Season 5 - MSG Tickets Scene https://www.instagram.com/reel/DYpZmYIhWv0/

Cast Jean Smart, Hannah Einbinder, Megan Stalter, Robby Hoffmann, Paul W. Downs The range of this ensemble hits a large range of demographics, mostly generational. This scene however, focuses more on millenial & gen-z humour. All the characters have great comedic timing, and their energy balances out the scene from feeling overly chaotic or scripted. Jean Smart

In Hacks, Jean plays Deborah Vance - a comedian who is fighting to stay relevant in the global comedic scene. In this show, she is stubborn, uppity, particular, and hilarious. In this scene specifically, Jean is processing another one of her dreams being taken away from her by men. Without any dialogue, she portrays pain, contemplation, and stress in a composed manner. Her character in this scene is relevant to script characters who are processing unexpected news or figuring out a plan. Hannah Einbinder

In the show, Hannah's character is a woke zillenial who would protect Deborah at all costs. She's unashamed, loyal, and a stubborn. In this scene, she is processing the event through anger and outrage. Shouting out any idea without filter about what they should do. She is processing her emotions outwardly and her anger turns towards anything and everything (i.e. yelling at her phone to not use AI). Her acting in this scene is applicable to characters who are not getting something that they want (product, service) and getting loud about it and a spiralling manner.

Megan Stalter

IMO the most iconic character to come out of Hacks. She is quirky, outrageous, hilarious, confident, loyal and unfiltered. In this scene, you see Kayla in her full over-the-top wrath. Her character is dramatic - making the throwing of the cup seem like a typical Kayla move. Her performance is a great reference points of script characters that are ironically over the top.

Robby Hoffmann

In this scene, Robby is the most calm based on their body composure. Robby's character is socially awkward and most things they say are untimely for the moment and the surrounding environment's energy. Their character balances out the heightened emotions by staying calmer than everyone else.

Paul W. Downs

In Hacks, Paul plays the agent who tries to stay calm, collected and logical. In this scene you can see him struggle to stay calm, while trying to come up with semi-logical solutions. He is the person trying to steer the ship that is clearly sinking, while actually spiralling himself. His performance in this scene - paired with Hannah's - is a great reference for scripts that have two characters edging one another on.

Why This Casting and Performance Works Together the acting balances the scene from feeling manic and chaotic. The different responses to the awful mood show each character processing it differently. This allows for most to be able to relate to the reactions they see.

Mickey Limbos

In the old Dakota Tavern space at Dundas and Ossington

New concept with Apt. 200 (and formerly The Contender) owner Kit Birchard and former Bar Isabel and Souvla chef Lucas Richarz

https://www.instagram.com/dadbelmont/p/DZ5_x93EcWp/?img_index=10

Hand painted signs

7,820 Followers, 2,589 Following, 986 Posts - See Instagram photos and videos from Andrew Kidder Rcade Signs (@rcade_signs)

Toronto Amazing

Future of Film Showcase (FOFS) 2026 — Toronto's Emerging-Filmmaker Fest, July 23–26

FOFS is a Toronto not-for-profit fest for emerging Canadian filmmakers — 2026 runs July 23–26 across the Paradise Theatre and POV Film.

Passes and tickets are live via Humanitix; four days of shorts, features, and panels, roughly half in-person, half virtual.

Several regular vendors (Keslow, Panavision, Sunbelt, 2D House) sponsor the fest, and two panels this year (AI/performer rights, indie financing) touch directly on deal terms we deal with on commercial jobs.

Origins & Who Runs It

Founded in 2014 by Eric Bizzarri, now Co-Founder/CEO alongside Sean (Shant) Joshi, now president of LA's Fae Pictures and moderator of this year's No Neutral Frame panel.

Mandate: platform filmmakers at a "crucial stage" of emergence, prioritizing women, BIPOC, and 2SLGBTQIA+ creators.

Current leads: Eric Bizzarri (CEO), Jem Galvez (COO/Creative), Annum Shah (CFO), Zac Goldkind (Director of Programming).

Advisory board includes Jenn Kuzmyk (Exec Director, Banff World Media Festival) and Paige Murray (CBC, Exec in Charge of Development, Drama) — real ties into national industry infrastructure.

Notable Alumni

Emma Seligman — Void, FOFS '18, later directed Shiva Baby and Bottoms.

Meredith Hama-Brown — Broken Bunny, FOFS '19, later directed Seagrass.

Also on the list: Sophie Jarvis, Sophy Romvari, Alicia K. Harris, Aziz Zoromba (FOFS '17–'21).

Actual pipeline, not just a nice regional stop — several alumni have gone on to TIFF and Sundance.

The 2026 Lineup, Day by Day

July 23 (Paradise Theatre): More Than a Game panel on Slo Pitch (5pm) → Opening Night Shorts + Q&A, ten films (7:30pm) → after-party at Archipelago Productions, 213 Sterling Rd (10pm, 19+).

July 24 (mostly virtual): Reel Concerns on AI and performer rights (10am) → BIPOC Actors Workshop, 1-on-1 casting sessions (11am) → Land First, sustainable production (12:30pm) → Virtual Coffee Chats (2pm) → National Spotlight feature Thanks to the Hard Work of the Elephants, Toronto premiere (7:30pm, Paradise).

July 25 (shifts to POV Film, 32 Lisgar St): DDI Pitch Competition (11am) → New Terrain on indie financing (2pm) → No Neutral Frame on BIPOC cinema (3:30pm) → Final Touches on post (5pm) → Centrepiece feature Tycoon, Canadian premiere (6pm, Paradise) → Special Presentation Never Get Busted!, Sundance 2025 alum (9pm, Paradise).

July 26 (Paradise Theatre): Student Shorts + Educational Panel w/ George Brown College (10am) → Masterclass with cinematographer Natasha Braier ASC (1pm) → I Love Boosters screening + Q&A (3pm) → Rising Star Award keynote with Nina Kiri and Maddy Kelly (6:30pm) → Closing Gala: Otium (8:30pm).

Director Development Incubator (DDI)

Six directors pitch shorts for $5K cash + $30K in-kind from Sunbelt, Alter Ego, AstroLab, Keslow, 2D House, Charles Street Video, and ShotDeck.

2026 finalists: Ashley Frück Siomos, Elizabeth Winstanley, Erin Lum, Hirra Farooqi, Jackie Batsinduka, Tanzeil Moustapha.

Why It's Relevant to Us

The sponsor list overlaps with our regular vendors, worth a scan if we're renegotiating any of those relationships. Reel Concerns is useful for how we word AI/likeness clauses in talent agreements, and the DDI shortlist is a decent scouting ground for directors on smaller jobs.

Toronto Amazing

Sip & Learn is a lecture series where university professors, researchers, authors, and subject-matter experts give 45-minute talks in bars, distilleries, and other social venues around Toronto. The idea is to recreate the old tradition of discussing ideas over food and drinks rather than in a classroom.

Topics have included:

Psychology and mental health, Artificial intelligence, History, Sociology, Philosophy, Neuroscience, Politics, Storytelling and animation, Reality TV as social psychology, Fashion and Canadian culture

The format is pretty relaxed:

Doors usually open around 6:00 p.m.

You can order drinks and dinner beforehand.

A professor or expert gives a 45-minute presentation.

Afterwards there's a live Q&A and informal conversation.

The event usually wraps up around 8:30–9:00 p.m.

Commercial directors are constantly trying to answer questions like:

Why do people make certain decisions?

What makes an audience feel empathy?

What captures attention?

Why do we laugh or cry?

Talks on psychology, sociology, neuroscience, or behavioural economics can directly influence how you approach scripts, casting, performances, and visual storytelling.

2. Better direction of talent

Whether you're casting real people or actors, understanding emotion and human behaviour helps you:

communicate with performers more effectively

recognize authentic expressions over "performed" ones

create moments that feel lived-in rather than staged

Tickets typically run around CA$25–40

Sip and Learn hosts sold-out lecture nights across Canada where leading professors and experts deliver 45-minute talks followed by discussio

Toronto Amazing

BADBADNOTGOOD at the Royal Botanical Gardens TICKETS

About BADBADNOTGOOD: BADBADNOTGOOD is a Grammy nomiated, Toronto-based jazz ensemble that makes expansive music that "straddles the line between '70s soul-jazz, alternative hip-hop, and experimental electronica." The group was created in 2010, but 3 students at the Humber College Jazz Program in Toronto - Chester Hansen (bass), Matthew Tavares (keyboard/synthesizer) and Alexander Sowinski (drums). They do many collaborations with other Toronto artists, including Charlotte Day Wilson. + one of their songs blew up on TikTok - Instagram - Live Performance 2025

ABOUT THE ROYAL BOTANICAL GARDEN: Royal Botanical Gardens is a not-for-profit park/garden with over 2,100 acres of land and ecosystems within Canada’s largest urban environment. History: Known as Westdale Park in 1929, the Parks Board wanted the garden to be known as something more grand. One of the Board members was a frequent visitor to London, and loved the name the 'Royal Botanical Garden' that was labelled to Kew Gardens -- which had been a model for many botanical gardens around the world since the 18th century. The Government of Canada was approached to use the term "Royal" in the name of the park. "A Royal Charter was granted by King George V of England for the name “Royal Botanical Gardens” in 1930. RBG is the only botanical garden in Canada with the right to use “Royal” in its name."

THE EVENT: Taking place on August 20th at 8pm - Hendrie Park (680 Plains Rd W) -- yes... it is in Burlington... but so is Hannah! There will be a BBQ, Food Truck & Drink Vendors. People are asked to bring their own seating. Tickets are $55 - and include access to the gardens. WHY THIS IS RELEVANT TO US Shoots often are in the GTA - having a jazz concert in a garden be the end to a long day sounds pretty incredible and unique. It also highlights a Toronto born group in a beautiful environment with interesting history. This would show/remind directors or creatives that Toronto is great, but we have more to offer them than what is strictly in the city lines. They typically stay in the city, and this would be a nice recluse and change of pace. I am posting this far in advance, so that if we want to utilize this opportunity, we have it on our radar for future shoot dates.

Toronto Amazing

Archie's Neighbourhood Pub

📍- 106 Broadview Avenue

INSTAGRAM: https://www.instagram.com/archiestoronto/

Located in the Broadview hotel, Archie's is framing itself as an elevated neighbourhood pub! Soft opened now, and opening to the public June 26th, now would be a good time to get acquainted with what the place has to offer, if we recommend people stay at the Broadview.

Named after Archibald Dingman the architect of the property in 1891.

The space has a relaxed vibe, pool, and a Photo Booth for visitors to enjoy. With a menu focussed on heightened pub classics, good beer, and a classic list of cocktails.

Overseen by executive chef Artem Shcherbina, who oversaw food for the Chase Hospitality Group for years, and food and beverage director Jason Chapman, who comes from a variety of hospitality roles.

Cooper’s Theatre Corner: Blood Brothers

As a part of the Summerworks Theatre festival, Sheep’s Clothing presents: Blood Brothers. The story of Julius Caesar, rewritten and retold in a real frat house. Scenes happen around the space in real time, and all at once, allowing viewers to follow different plot lines.

Canadian Work

Beef Farmers of Ontario - Ask Your Butcher (Round 2)

Toronto agency Bob's Your Uncle just launched Version 2 of its "Ask Your Butcher" platform for Beef Farmers of Ontario / Ontario Beef, following up the original 2024 push

Same production company (Gardener Production Group), same director, same DP, same casting shop across both versions

Version 1 — "Ask Your Butcher Anything" (August 2024)

Three 15-second hero spots: "Penguin," "Hiccups," "Which One?"

Results: 350% increase in Ontario Beef website traffic, ~58–60% increase in visits to the "Find a Local Butcher" tool — strong enough that Bob's Your Uncle was re-selected after a competitive agency review for Version 2

Version 2 — "Ask Your Butcher" (June 2026)

Four spots this round, officially titled "Bangs," "Hokey Pokey," "Origami," "Poker" — confirmed via LBBOnline and Glossy; the AOTW credits page doesn't name them individually

Launched week of June 22, 2026

Shift in framing: Version 1 leaned on "you can ask anything," Version 2 leans harder into the butcher as a comedic authority figure with "extraordinary knowledge and unexpected talents"

The fourth spot ("Poker") wasn't planned. Per Muse by Clios, the shoot was booked for three spots — Froese: "we had come into the day with three commercials to shoot, we left with four... created from scratch on the set." Cast is credited as "very talented improv actors," which tracks with how loose the timing reads on screen

Production Crew — Director, DP, Producers

Director: David Hicks — directed both versions

Currently repped by Noble (billed there as Director, Producer, Photographer).

Previous work includes Tylenol, Knorr ("Brace," "Dating"), Proline, and Hockey Hall of Fame ("Robbie Turcotte")

Awards include Cannes Lions, Clios, One Show, Bessies. Known for dry, performance-driven comedy — notable prior work includes Ontario Pork "Office" (same commodity-board-comedy lane as this Ontario Beef work), McDonald's "Whaat," and a Canadian Tire spot built around a working pickup truck carved from ice

Director of Photography: Mack Calistan (Vanguarde) — also shot both versions

~12 years' experience across narrative, commercial, documentary, music video and comedy; credits include Backwards from Ten (2015), Channels (2016), Gangnam Project (2024)

This isn't just an Ontario Beef pairing — the identical crew (Hicks directing, Gardener as EP, Calistan as DP, Morritt producing) also shot Bob's Your Uncle's "Big Daddy" cookie launch in June 2026 ("This Ain't No Kiddie Cookie").

Casting: Mann Casting — Steven Mann

Version 2 talent: Daniel Gardner as the Butcher, Alaina Attard as the Customer.

Why It's Relevant to Us

Full crew retention (director, DP, editor, production company) is worth noting across 2 spots spread several years apart.

Improv-trained actors can result in additional value for everyone.

Canadian Work

Don't Wait for Weird, PSA - Breast Cancer Awareness

Don’t Wait For Weird

PSA for Breast Cancer – highlighting the fact that if you live in Canada, you can book a mammogram without a referral.

Agency: Superhuman Communications

SUPER new agency with Rachel Abrams at the helm

This is their first spot

CCO/Founder: Rachel Abrams

Rachel Abrams used to be the Co-Founder of A Beautiful Riot - left Bensimon Byrne in 2025

She left A Beautiful Riot a few months back (she/they were the one’s that did the Girl Guide’s spot I showed around a month ago), and then publicly launched her new company once this spot came out

Copywriters: Dani Kind & Rachel Abrams

Rachel Abrams used to be the Co-Founder of A Beautiful Riot - left Bensimon Byrne in 2025.

Director: Dani Kind

Prod Co: Holiday United Group

Line Producer: Aarin MacKay

DP: Stuart Campbell

PD: Natashia Uhlrig & Jamie Hiltstone

Camera and Lighting provided by Sunbelt

Wording of this indicates that they were donated

Casting: Sarah Sheps out of Mann Casting

Holiday United Group has a program called Holiday Film’s HUG For Good - which from what I understand, helped eat some of the costs for this spot in order to be produced and aired.

“It leverages the talents of filmmakers, directors, and producers to create content that elevates awareness, boosts donations, and empowers positive change for charitable organizations and foundations”

They have supported the works of World Vision Canada, ‘Burps’ spot, CAMH, ‘No One Left Behind,’ and RMHC, ‘The Other Things.’