How the Centre for Immigrant and Community Services Celebrated Its Commitment to Supporting Canadians
This year, the Centre for Immigrant and Community Services (CICS) celebrated its 55th anniversary. That’s a lot of years of building communities and empowering immigrants and vulnerable populations to make a home and live their best life in Canada. It’s also a lot of work, considering the fact that Canada has one of the highest immigration rates of any country in the world.
So, how does one commemorate such a momentous occasion? Glamorising the work wouldn’t be appropriate, nor would a self-hype video. Rather, they key lay with Merchant director Sara Jade Alfaro, who worked with CICS to create a poignant PSA.
Serving as a dynamic retelling of the organisation’s origins, which started out with a few students providing translation services out of a makeshift Chinatown office, and grew into a major settlement and community services agency in the Greater Toronto Area, the film features a range of scenes celebrating Canadian immigrant diversity, from food bank services to tai chi activities. Notably, every scene takes place in an empty gymnasium, featuring a simple red backdrop, serving as a striking representation of the passage of time, as well as the CICS’ unwavering commitment to those in need, and the potential of the lives that have come under that roof.
LBB’s Josh Neufeldt sat down with Sara, CICS executive director Alfred Lam, and executive assistant Nicole Leung to learn exactly how this came to be.
LBB> What was the brief for this project like, and Sara, why was this something you were interested in?
Alfred & Nicole> The brief for this project revolved around capturing the essence of the Centre for Immigrant and Community Services, and its journey over the last 55 years. We aimed to create a film that authentically portrayed the diverse communities CICS serves, and its commitment to fostering human connections.
Sara Jade Alfaro was the perfect choice for this job due to her deep understanding of storytelling and her dedication to showcasing the authentic narratives of immigrants and their invaluable contributions to Canada. During our meetings, her passionate retelling of her own family's immigrant story resonated deeply with us, giving us the confidence that she would deliver something exceptional.
Throughout the research phase, Sara and her team visited us multiple times and engaged with our staff, partners and clients from all walks of life to truly immerse themselves in the multifaceted fabric of the community that we have nurtured over the years. The tremendous effort they have put in was impressive and heartening.
Sara> We initiated the idea with the CICS as a collaboration in early fall of last year. I had been researching immigration and settlement organisations in Canada, and was getting insights from agency friends who were seasoned vets of the PSA world. When CICS requested a meeting to discuss its interest in a commemorative piece, it was the perfect opportunity to create something that focused on the themes I wanted to explore.
The script was open-ended and ever-changing until we began research. We wanted the organisation to inform the creative, and the experiences depicted to feel authentic. It’s not how I would always do it, but we were offered so much access to the community that it made sense. I had a couple of rough scripts when I went in, but a lot of it was changed and re-written as soon as we sat down with people.
We met women who regularly attended food banks and generously shared their experiences of what it’s like to wait in line for food, the kind of vulnerability we don’t see or hear about when we talk about seeking safety in our communities. We met families who had freshly arrived in Toronto, after years of turmoil in other countries, and despite the challenges with language, unemployment, and childcare, they would all tell me: ‘I am so happy I am in Canada now’.
It sounds saccharine, but it humbled me. I think I was becoming cynical of where I lived, and meeting new people in all stages of life reminded me about what mattered most. The script came directly from these conversations. We’d meet children and they’d inspire one part of it, then we’d show up another day and the seniors were playing badminton, or doing tai chi, or I’d run into Teddy - a fabulous chef and baker who teaches cooking workshops and delivered meals to the elderly over covid-19 - and he would recount his first years in Canada starting up businesses in the ‘80s. It was this tapestry of experiences that changed every time I visited, and all of it was very valuable.
LBB> What made now the right time for this film, and why was a PSA the best way to do this?
Alfred & Nicole> This moment was particularly opportune as it marked a significant milestone for CICS – our 55th anniversary. A PSA format allowed us to communicate the heart of our message concisely while leveraging the power of visual storytelling. The theme of our 55th anniversary, ‘A Story We All Belong To’, though profound, might appear somewhat abstract. Therefore, a PSA could provide a dynamic canvas to vividly depict this theme, connect with our audience and highlight our agency’s impact.
Beyond this, given that many of us who live in Canada have immigrant backgrounds, our aim was to craft something our audience could relate to. While the PSA portrayed CICS' narrative, it ultimately resonated as a story shared by all.
LBB> Aesthetically, the work is quite stripped down. What made this the best way to underscore the CICS’ mission?
Sara> I loved the vast gym space. The CICS building is incredibly functional, so dressing it to look like a different kind of set felt like a disservice to showcasing the utility and value of a space that supports so many people.
They took me around the facility a number of times, and I kept coming back to this big, open gymnasium; a space that hosted youth summer camp, senior tai chi and badminton, community movie nights, large community events, assemblies - all of it seemed to happen here. As such, I insisted that we keep it firmly rooted in this concept to showcase the multitude of things that happen under one roof. It took a bit of work to make the place look camera perfect, but it totally aligned with CICS values.
LBB> Integral are the people featured in the spot. What was casting like? What were you looking for, how many families/people did you include, and what made you go with the choices you did?
Sara> Casting was an entirely untraditional process. CICS had a real appreciation for showcasing real people who were part of its teams and community. So, we went through a pool of real individuals who were either clients, volunteers or employees (current or former) to find our cast. It was intimidating at first - to rely so much on these channels when we could have used our casting teams to get actors who knew exactly how to stand on their mark. But, real people are also very intuitive and it never ceases to impress me.
We leaned on CICS to find people of all backgrounds, and so I gave a pretty open brief for casting; we wanted a mix of longtime immigrants, new immigrants, families, refugees, volunteers, and employees. Most of the people were happy to join and often brought along their families. We always made sure that CICS approved and managed the communications, so that the clients were protected. It feels silly to say now, but there’s no better place to find faces and humans than with an immigration service. That’s what they do!
LBB> What sort of equipment did you use to shoot, and why did you make the choices that you did?
Sara> The tone felt the most important to nail, and when we did, the technical aspects and necessary gear fell into place.
We wanted to represent consistency, evolution, and legacy through a composite of vignettes. I felt strongly that it had to have an underlying movement that tied it together, which organically led us to discussions about using motion control.
The Mars MOCO is a small, very modest motion capture robot, which did a nice, clean job at repeatable and programmable movements. It kept us tight and organised on a technical level - having to account for every second onscreen and how each vignette would stitch together, not to mention timed out lighting animation - but was also discrete enough that it didn’t intimidate or distract our talent, even when we were up-close.
Beyond this, we shot on an Alexa 35, on the Fujinon 19-90mm Cabrio Lens. It gave us a gorgeous filmic look and flexibility with the distance we were covering across the gym.
LBB> When it came to aesthetics and the look and feel, what were your main aims and ambitions?
Sara> My goal was to always focus on the humans first, and really find the warmth in the image. This is also why we kept art direction spare. It was a visual rule for me that the only times we included additional elements in the scenes - lighting, art, props, FX - was as a direct result of the humans and their actions. They are the cornerstone of community building. Infrastructures appeared because people came together and built them!
LBB> The use of lighting in transition shots, and the transitions themselves are super memorable. How did you achieve this?
Sara> Oi, the lighting! That was a tricky one. My DP and collaborator, Grant Cooper, was the brains behind this. The lead-up to production was pretty quick. Grant had the idea of developing three main lighting setups positioned around the set that we would jump back and forth between, while keeping a subtle backlight throughout.
There was also a book light to one side of the set, and a spotlight overhead for dramatic looks, and we had the whole thing timed out on an iPad in accordance to the ongoing MOCO movement with lighting choices curated to each scene. There were little touches we added, like the strobing effect with the tai chi performance, and the flashbulb effect in the scene with the graduation podium, which provided additional accents.
On a purely technical level:
- Two Arri Skypanel S60 book lights
- Three Aputure 600C overhead (One spotlight and two lanterns)
- Two Astera Titan Tubes for backlight
LBB> The sound work, from the music to the effects is very smooth. How did you bring this element to life?
Sara> There was an insanely talented post team! My editor, Warren Goodwin, and sound engineer, David Worthen, were both key voices in shaping the sound and finding ways to incorporate music that augmented the story without distracting or overwhelming the scene. To have an editor that is so intuitive and has ‘feel’ allows you the luxury of playing with sounds and layering elements, before you even get to the sound design phase. Then, once we worked on sound, we knew what we wanted and worked on further refining.
LBB> What challenges did you face during this project, and how did you overcome them?
Sara> Lots of children running around! Sourcing talent up to the last minute! Wrangling dozens of non-actors on the day, some of whom did not speak English! Working within very, very tight scheduling parameters (there was literally a single day that was possible to accommodate shooting and no backup day, which gave us approximately 1.5 weeks to prep while I was on the road in LA). All challenges, but all were very manageable, especially with the client being an extremely capable and hands-on collaborator. We really did run everything together!
Alfred & Nicole> One of the primary challenges during this project was recruiting real people talent to appear on camera. We had to be very careful regarding their involvement, because their best interest is always one of our top priorities. As a result, we made extra effort to explain the idea to everyone we approached to make them feel comfortable. To our surprise, many of them agreed immediately and were enthusiastic to participate. Notably, some of our staff members played a crucial role in identifying and connecting us with potential on-screen talent. The authenticity that the film exuded from start to finish certainly would not have been possible without their efforts.
The second scene of the PSA, featuring youth and children playing basketball and running across the stage, was a great reflection of CICS’ nurturing of the next generation. However, in the beginning, it posed a significant challenge in terms of recruiting child participants. Here, again, it was our staff who stepped up to ask their own children whether they would be willing to participate, and many of these kids were actual clients of our youth services. We were relieved by the positive response and that everyone enjoyed the experience!
Another challenge arose in effectively communicating expectations to the on-screen talent, especially since almost everyone had no prior experience with such projects (we were all in awe of the huge film setup in the hall!). The fast pace of production meant that many requests for props and wardrobe had to be assembled at the very last minute. Thankfully, everyone showed remarkable flexibility and patience, not only during the preparation process, but also on the shooting day.
In short, the key to overcoming these challenges lay in constant and clear communication, along with dedication and hard work. When people can feel your respect for them and witness your unwavering commitment to achieving the best results, many are willing to go above and beyond to help.
LBB> What lessons have you learned from this experience?
Sara> I’ve learned that it is worth it; that idea of doing community outreach that you’ve been toying with, or writing a piece that you’re passionate about, even if it’s a grassroots thing that you worry won’t be seen (or suspect it won’t have a massive impact). It’s worth pursuing. Nonprofits are often underfunded, and the people are overworked. But, if you care about something, it is worth fighting for. And there’s no telling how far a PSA or creative piece can go. What feels mundane and obvious in our industry is spectacular and often out of reach for these organisations.
You can be creative and do good! At least, that’s how I see it.
Alfred & Nicole> It is always worth it to try to push boundaries and embrace challenges. For this project, we aimed to infuse the film with a level of authenticity that words alone could hardly convey. Initially, we were not sure if this would work, but tried anyway, and we succeeded. The results simply exceeded our expectations.
The dedication exhibited by both Merchant and CICS teams throughout the entire process, from conceptualisation to execution, has shown how a shared passion can translate into a captivating visual narrative. Contributing to a project wholeheartedly as a team has been an exceptionally rewarding experience.
LBB> What has the initial response been like, and how does this fit into CICS’ goals for 2023 and beyond?
Alfred & Nicole> Before making the PSA public, we screened it at internal events attended by our staff and supporters, and the initial response has been overwhelming and heartwarming. The audience has deeply resonated with the film's portrayal of diverse experiences, evoking a sense of belonging. Many were amazed at the fact that most of the talent in the PSA had a genuine association with CICS. Individuals familiar with our multi-purpose hall were also astounded by how this space was transformed into the backdrop of a visually stunning narrative.
In terms of goals, for more than half a century, CICS has been dedicated to fostering communities, and empowering newcomers and vulnerable populations, and this PSA stands as a testament to our commitment to authentically representing the diverse communities we serve while showcasing our role in cultivating inclusive and vibrant spaces. Interactions among various actors within the film have mirrored our fundamental dedication to community-building through creating human connections - the foundation of our new, five-year strategic plan. We aspire that this PSA will introduce more individuals to our work, as well as the dedication of our staff and volunteers through the years.
LBB> Is there anything you’d like to tell Canadians about how they can support the work you do?
Alfred & Nicole> We invite Canadians to actively engage with the PSA and help us amplify its impact by sharing it extensively. Through watching, sharing and spreading awareness, they become integral to ‘A Story We All Belong To’.
Feel free to learn more about CICS through our website. For those interested in contributing further, please consider making a donation to CICS through CanadaHelps. Every act of support helps create a more welcoming and inclusive society for all.
