NO FILM SCHOOL: As active co-owners, can you share more about what led you both to founding Elemental Post and the passion behind bringing this kind of work to the Canadian film community?
David Tomiak: Matt and I had both worked together for a number of years prior to starting Elemental and we always thought that it would be amazing to partner on an independent color and sound facility in Vancouver. We’d been talking about it for almost four or five years, but with our schedules, we just never had a lot of time to sit down and really figure out what it could look like. When COVID happened, all of a sudden everyone had a bunch of time, so we decided to start talking about it more seriously and see if we could make it a reality. Really the passion behind it just comes from wanting to collaborate on more films, Canadian or otherwise, and give independent films the same post experience they would get with larger budgets. We both love working in narrative features and documentaries, and that really inspired us to not just do color and sound, but also help filmmakers complete their films and take them to the finish line. We wanted to be able to handle any part of the post process.
Matt Drake: Yeah, I think what Dave is saying about collaborating with filmmakers but doing so in a way that having color and sound in one place was a big motivator for us, and that's kind of what drove the initial idea. The concept of a post house that does color, sound, and everything together is a very common thing in a lot of other places, but for whatever reason didn't exist in Vancouver. We wanted to have an independently owned company that could give you the same kind of quality and collaboration that you would expect anywhere else in the world.
DT: Also, the really cool part about color and sound being in the same place is that it puts the filmmaker first. There are a lot of creative conversations that just happen naturally and inform one another because everyone is in the same space. They can be in a sound session and jump out to talk about something with color or you can be in color and be like, "This thing really came to me for sound,” and you can walk over to Matt's room to talk to him about it while that idea is still fresh. It allows that creativity to be alive through the entire finishing process.
'Love Me'CREDIT: Bleecker Street
NFS: How did each of your experiences on and the success of Love Me (which is now looking forward to a theatrical release) prepare you for both The Wedding Banquet and A Nice Indian Boy?
MD: Love Me was a very long process in that we started on the movie when it shot at the end of 2021, and we finished at the beginning of 2024 when it premiered at Sundance. It was an amazing experience being on from production all the way through to delivery, and so throughout the oversight of that entire process, you learn so much over the course of that time. When you're working on multiple projects simultaneously, you're constantly growing and becoming better as you go, so there is a huge value in taking all those experiences and applying them to your next projects. I think a lot of those things go hand in hand when you start working on something new like The Wedding Banquet and A Nice Indian Boy. It also really helped us set a standard within our company. Love Me was a very complicated project. There's animation, there's live-action, there's a lot of CGI and tons of VFX - over 500 shots.
DT: Yeah, I think it really helped level us up as a team, not just as creatives, but as a facility. To know that we can take on larger projects like this, that we can do it in a way that gets all the way from start to finish. I think it was a really proud moment for us to achieve that and to move that inspiration and that problem-solving into our future projects.
NFS: Can you each walk us through your creative process as it relates to your respective crafts? How do you work together and begin to envision both the color and soundscape of a particular film?
DT: I say this a lot to filmmakers that, at the end of the day, what I'm trying to do and what we're trying to do is get into your brains. We are trying to understand where you are coming from so we can really understand your vision. So I think when you get into the creative process, the most important thing is to get to know the human that's creating the film. We are tools to help filmmakers finish their films, which is amazing, but at the end of the day, we are at service to the film and to the filmmaker. That's where I think throughout the creative process, it's really about getting to know who the filmmaker is.
That way as you're moving through, as they're trusting you with decisions along the way, you are acting in the best interest of both the person and their film. Being involved as early as possible with the filmmakers allows us to be as creative as possible throughout the process. When we get to work in prep with people, when we read the script, when Matt gets to talk to the director about the soundscape before shooting, and when I get to talk about the look that the cinematographer and the director want to create, it's really amazing when you can start to be part of that conversation because you can learn more about the film too.
Then by the time you're walking into color or you're walking into the sound mix, you've already been able to think about all these different ideas, you've been able to sit with the film already. And so just being as involved as early as possible makes it the most collaborative process. Film is hard. It’s so tough. And when you have someone that's not just your business partner, but also a creative partner with you, it makes it so much better because you're inspired by each other. Having someone else who's working on a different field on the same movie…it gives you perspective. And to have that in the same space between Matt and I, it's just grown our relationship to a deeper point because there's so much more trust built there.
MD: I'll call Dave into my suite or he'll call me in his and say, "Hey, I've been working on this thing for the last hour. What do you think of this? And how does this serve the story?” And same with sound. Because you're right, when you're working away you can kind of get into a vortex a little bit as a creative, and you don't know if it's working or not so you need that outside perspective. I think just having someone who has context to the film because they're in it with you can be incredibly helpful so that when you're asking them a question about a scene, they understand why you might be asking that question or how you got to a certain point. It’s so great to have around.
'A Nice Indian Boy'CREDIT: Blue Harbor Entertainment
NFS: What do you see as the biggest creative challenges and opportunities for filmmakers today and how does Elemental Post work to mediate and maximize each of those?
MD: I feel like time is always a huge challenge. Film is such a subjective process so it takes time to work through the creative, try things out, and really find what works best for the film—and not be afraid to throw things away when they aren’t working. We try to solve that problem by having everything in one place because you get to be working on both color and sound at the same time.
Naturally, that can make things more efficient, and more time is created as a byproduct, so I think that’s super important. We really try to create an environment where filmmakers have had the time to sit with their film and finish it in a way that doesn’t make them feel rushed because this is the end of the process. Once it leaves our hands it’s going out to the world, so we want to make sure they feel great about it.
NFS: What’s next for Elemental Post? Are there any upcoming projects or genres you’re eager to explore?
DT: I think what we've learned through the last four years of having this company is it's really nice to stay somewhat small. So within our team, how we grow, I think we’ll continue to make sure that the whole process stays intimate. I think there's a groundedness in the size that you are and the projects you take on, and we've been lucky enough to work on some really great films.
In terms of upcoming projects, I'm doing an A24 film right now that has just been amazing to work on. It's a romcom called Eternity, starring Elizabeth Olsen and Miles Teller and it's been so much fun. I mean, the filmmakers have been a dream to work with and the production team's been amazing. It's been a huge challenge to work on creatively but from that, you never know what will come after.
All genres are fun. They all provide different challenges, to be honest. You love to work on horror films because you play with what's not there versus what's there and that can be just as intense. With rom-coms, you're playing with a lightness and an openness. In dramas, you're building this tension that each one has just its own world. Documentary is also a big part of our company too because we also love the real stories that are happening, and walking in other people's shoes for a moment.
MD: I don't want to paint myself into a corner on genres, I really enjoy working on all kinds of films. I like to change it up because I think it exercises a different creative muscle depending on what kind of film you're working on so that variety is really fun for me. I've really enjoyed working on comedies lately. I've done a few of them over the last couple of years and being able to laugh while working is always enjoyable. I worked on a film called Borderline recently that just came out on March 14th. It’s directed by Jimmy Warden, who wrote Cocaine Bear, and he wrote and directed this movie, which is produced by LuckyChap, Margot Robbie's company.
I'm really excited for it to finally be out in the world. It's an awesome thriller-comedy. And then A Nice Indian Boy and The Wedding Banquet are both coming out in April, which I’m really excited about.