Director Observer Applicants (11)

I have been pursuing a career as a director for the past few years. After working for 13 seasons on Murdoch Mysteries as a Script Supervisor, I was given the opportunity to direct an episode. The following season I directed 2 more. I believe that opportunity arose because of the strong relationships I had built working with Shaftesbury and the Murdoch team. I have learned that forming new relationships is an incredibly important part of finding success as a director in the industry. DGC’s Director Observer Initiative helps us make those much needed connections. I am very eager to watch and learn more from comedic directors and observe their creative process. I know I have a lot to learn as a director, and this opportunity would greatly help me on my path.

“Office Movers” is a hilarious show! My son followed Jermaine and Trevaunn when they were Youtube content creators years ago, and it was him who introduced me to the show. I love that the show has such a diverse cast of characters. Everyone is great, but Jae and Trey’s chemistry and comedic timing are special. There is never a shortage of laugh-out-loud moments in the show. And I love the physicality of the humour. The show really puts a different spin on the office comedy. I grew up with Ukrainian grandparents and parents who had their own small businesses, so I also find the show very relatable.

While I have had a lot of opportunities working on dramatic format films and television shows, I have always had a keen interest and love for comedy. When I graduated from TMU, one of the first shows I worked on was a comedy series with Mike MacDonald called “Mosquito Lake”. As a Script Supervisor I worked on “Eric’s World”, “The Jane Show” and more recently “Children Ruin Everything”. Along with my passion for storytelling, I’m also passionate about learning; this opportunity would provide me with both. Even though my episodes of Murdoch Mysteries were dramatic format, I always tried to make the most out of the comedic moments in the show and quite honestly it was where I had the most fun.

I’m an emerging director eager to make more connections in the narrative world in Toronto, and to learn from an episodic director who makes themselves essential on a set even as a ‘guest star’.

The Office Movers is a show that’s so modern and specific, I would love to absorb the tone and processes of the set, and the intensity of following a directing block from beginning to end is an incredible window into the specific processes that make such a hilarious show — what’s casting, what’s on set, what’s made in the edit suite, etc.

The *tone*. This show is *so specifically* GTA — as someone who grew up in Brampton in a Middle Eastern family, the dynamics of wanting to impress your father but knowing it’s futile, of having friends and seeing their flaws but knowing yours are even larger, and the understanding that a deal can be made in each new strip mall, office plaza, flea market, or nondescript locale that’s a stone’s throw from the 427.

It’s hilarious to me and I’m so thrilled it exists outside the memories of me and my sibling and family.

I also love the specificity of these office spaces — echo-ey rooms that are so firmly temporary but allow for the big personalities to be the most memorable things about them.

I love comedy of all kinds, and have worked in a lot of kids & youth, which shares DNA construction with Canadian comedy. My favourites currently include shows that are odd and offbeat, like A Black Lady Sketch Show and I Think You Should Leave, and where Canada’s concerned I love Bria Mack Gets A Life, The Trades, and am very excited for the new season of Slo-PItch

Make connections with people and hopefully be invited to direct someday.

Its unique.

I have never worked in comedy but I think its my second nature. I think comedy is the most difficult genre and I need to know how to execute it!

Having directed five award-winning feature films distributed by major studios, networks, and streaming platforms in more than 65 countries, I am now focused on transitioning into episodic television. A Director Observer opportunity on The Office Movers would provide invaluable insight into the creative and practical demands of episodic comedy, from prep through post. Observing an established series would help me translate my feature directing experience into the pace, tone, and collaborative workflow of television while preparing me to contribute confidently as an episodic director.

What I enjoy most about The Office Movers is its ability to find genuine comedy in recognizable workplace dynamics and everyday human behaviour. The series balances sharp, character-driven humour with moments of authenticity, allowing the comedy to emerge naturally from the relationships rather than feeling manufactured. As a director, I’m drawn to shows that trust performance, timing, and visual storytelling as much as dialogue, and The Office Movers does that exceptionally well. I also admire the collaborative energy that is evident on screen and the consistency of its tone from episode to episode. Observing that creative process would be an invaluable opportunity to learn how the team sustains the show’s distinctive voice while continuing to keep it fresh and engaging.

Comedy has been a significant part of my directing career. I directed the office comedy feature Bankstas (Cubicle Warriors), about two best friends navigating corporate life. The film won Best Feature Film and Best Director at the LA Comedy Film Festival, was nominated for Best Feature Film at the Canadian Comedy Awards, and received a theatrical release in Canada and the U.S. I also directed Bellini’s Drive, a feature documentary about The Kids in the Hall alumnus Paul Bellini, which screened at major festivals before airing on Bravo! and The Documentary Channel. Both projects reflect my interest in character-driven comedy, authentic relationships, and workplace humour, making The Office Movers a natural fit.

The sole focus for my directing career going forward is to establish myself as an episodic comedy director, and this director observer opportunity would be absolutely vital for me to achieve that. In the past, I have taken steps towards this goal by becoming a director observer on “Run the Burbs” under the episodes directed by Sherren Lee.

I look forward to working under a skilled showrunner like Clara Altimas, who is tasked with translating the unique comedic voices of Jermiane and Trevaunn into an engaging and coherent half-hour narrative.

Watching how Clara and Sebastian navigate their creative process will help me develop as a director because I will likely have to go through a similar process of working with established comedic voices on future sets.

I have seen every episode of The Office Movers since its premiere and the most dazzling aspect of the show is its unique blend of surreal humor that’s grounded in a sense of cultural specificity. I also love how the show is able to show a different side of Toronto, particularly the culturally rich suburbs that surround the city.

I also admire the show’s playful use of esoteric Toronto slang and its off-kiltered portrayal of various hyper-specific cultural norms and customs, which make for a comedically rich universe of characters.

Finally, as an immigrant child myself, I relate strongly to the show’s portrayal of the internal struggle to make something of yourself after your family sacrificed so much to move you to Canada so that you could have a better future.

I made sketch comedy videos during law school and later, one of those comedy videos got me into Werner Herzog’s Rogue Film School which made me become a filmmaker.

My web series “Model Minority” and my feature film “Stealing School” were both dark comedies about struggling immigrant children. All of the projects that I’ve been developing are comedies based on my real life experiences whether that was being an academic, a professional poker player or a strip club DJ.

Comedy has been the only unifying element in everything I have ever worked on in my entire life and it will be a part of my career forever. Working on a vibrant, daring and bold show such as “The Office Movers” will offer me invaluable experience for my future as a director.

I’ve been trying to find my way into television directing after three seasons of a comedic web series and two feature films that have premiered at TIFF, but I just haven’t been able to crack that network TV door open for myself. I would love the opportunity to learn from the showrunner, producers, directors and cast about how to best serve a series like The Officer Movers. I am looking for ways to get into TV directing and would be honoured to learn from this team about what they are looking for in directors and how they work with them to bring this hilarious show to life.

I love how the comedy and the chemistry feel genuine. Because of the brothers’ real-life relationship, their banter and mannerisms translate well to the show! I also love how the show captures sides of Toronto that are rarely seen. Areas that don’t generally get much love but work well for the humour and world of this show are on display, revealing a more interesting and diverse side of Toronto without it being whittled down to stereotypes. It also does what all great comedies do best – it’s funny, but there is a heart at the center of the whole thing – family expectations, trying to build a business, friendship, and figuring out the complicated and ever-shifting landscape of adulthood.

I’ve worked on three seasons of web series that were comedy, and I loved it! Running with Violet and two seasons of Ghost BFF. I think some of Canada’s greatest television is happening in the comedy space, and this show is one of them! I love the dry humour, situational humour and the ensemble performances of this show. I also love how the camera helps emphasize that humour. I would love the opportunity to learn from this team of creatives and watch how they bring these hilarious scripts to life.

I’d love to see the difference between shooting a comedy vs drama TV series. As well, I’m shopping a comedy that I’ve written (and would direct) and the opportunity to get onto the set of a Canadian comedy that’s doing well would be amazing.

It’s actually made me laugh out loud. That’s not easy. It’s also a Canadian comedy series that could be about anywhere, but feels distinctly ‘here’ at the same time.

I’ve directed a few short films that are comedic, most recently LOVE ME for the CFC. I’m also shopping around a half-hour comedy series with the pilot (that I wrote).

I’ve directed a few comedy shorts that won awards and screened on CBC Gem, a few docs and several true-crime episodes. Office Movers blend of scripted structure and improv is exactly what draws me – I want to learn how a director shapes spontaneity in the moment, deciding what to keep and how to guide it without losing comedic timing or an overall arch. Observing on this series how a director balances trained actors and improv comedians together would be invaluable as I develop my own comedic series. On set, I bring a low-friction, attentive presence – as a past crew member, I know how to observe without disrupting, asking questions at the right moments. This opportunity would give me hands-on insights and prepare me to step confidently into a directing role on any future opportunities.

What I love most about Office Movers is its physical comedy – the chaos of the job becomes a playground for the kind of clumsy, larger-than-life mishaps I find myself drawn to, maybe because I see flashes of my own occasional clumsiness in it, just turned up to eleven. There’s something deeply satisfying about comedy rooted in bodies, objects, and bad timing rather than just dialogue. Beneath the chaos, though, the show has real heart – we’re rooting for these characters, not just laughing at them. The constant hustle, the scramble to get the job done against the odds, mirrors a lot of what I’m exploring in my own series, as I learn to embed physical comedy into it as well. That combination of heart and hustle is rare, and it’s what makes the show feel alive rather than just funny.

My comedy work centers on bizarre characters and finding the rhythm in the chaos. My feature documentary about experimental music and sound art laughs lovingly alongside its subjects – at their devotion to art and the strange, beautiful results. My short “The Robbery” won at Cinefest Sudbury and screened at festivals across the US, Canada, and Australia. “Paradox,” a short about a picture-perfect medieval marriage proposal interrupted by a feminist time-traveller, is streaming on CBC Gem. I don’t see comedy as a lesser or harder discipline to crack – I approach it almost musically – attentive to rhythm, pace, and the precise beat where a joke lands. That sensibility, paired with affection for characters who are a little too much, is what I’d bring to Office Movers.

This opportunity would be valuable to my career because I would love the chance to expand my abilities as a director and observe how a series is shaped in a professional environment. After working in Hong Kong and returning to the industry in Canada, I worked on MOWs and then continued building my experience through network TV as a producer’s assistant and director’s assistant. While I’ve been able to work in different roles, I haven’t had the chance to focus solely on shadowing a director, and I think that guidance would be invaluable. In fact, since shooting my first feature in 204, I haven’t been in the directing chair and yearn for that experience to just focus on the directing and creative side on a production.

What I like about The Office Movers is that it feels rooted in a very specific world, with a strong Toronto voice and a lot of heart. I like that it uses humour to explore family, hustle, and cultural specificity in a way that feels authentic and lived-in. The show has a clear point of view, and I’m drawn to how it finds comedy in real people trying to survive a tough business while still keeping the emotional truth of the story front and centre.

I have not worked in comedy since my undergraduate years, when I wrote several comedic plays. My work is focused mainly on drama, often inspired by true stories, with protagonists facing difficult and often tragic circumstances. I have always believed that comedy and tragedy are deeply connected — that comedy can emerge from tragedy, and tragedy from comedy. To make someone genuinely laugh is to create something truthful and honest, and that is what I hope to achieve as a director: finding truth, creating real emotion, and expanding my range beyond drama.

I think as a storyteller we always want to expand our voice into different genres, so I’m very excited to see this.

I want to branch into scripted comedy, and The Office Movers is a valuable place to learn. My documentary work has trained me to notice shifts in behaviour, silence, and relationships that make characters feel real. I want to see how those instincts are shaped in a half-hour comedy through performance, blocking, coverage, pacing, and an episodic schedule.

I am especially drawn to the show’s Toronto- and Brampton-rooted point of view. Jae and Trey Richards have turned lived experience in office moving into character-driven comedy that balances quiet observation and physical chaos. As the series enters its third season, I would value seeing how that distinctive creator-led voice moves from prep into production. It would help me build the confidence to direct comedy series of my own.

What I like about The Office Movers is that it treats a niche, working-class job as a full comic world rather than a backdrop. The Richards brothers do not smooth out the GTA to make it legible elsewhere: the slang, awkward family loyalties, diverse crew, unreliable gear, small-business panic, and office-tower grind all stay specific. That specificity is why it travels. The show can move from an argument between brothers to an absurd scheme or physical disaster without losing the people underneath it. As a director drawn to character-based storytelling, I admire that Jae and Trey turned years of being pulled into their father’s moving company into a series that feels like a love letter, a complaint, and a comedy at once.

My professional directing work has been primarily documentary rather than comedy, but comedy is where I want to grow next. I am drawn to humour that comes from specific people under pressure: family dynamics, work hierarchies, cultural misunderstandings, and the way a small inconvenience becomes a crisis. Documentary has taught me to watch behaviour closely—timing, pauses, contradictions, and the gap between what people say and mean. I want to bring that attention to scripted performance and learn how a director shapes it through casting, rehearsal, blocking, and coverage. My film-production training and experience leading documentary crews have given me a strong grounding in preparation, collaboration, and story; this opportunity would help me apply that foundation to episodic comedy.

I have a series that I am developing, based on a novel I optioned (A HAUNTING ON THE HILL), and would love to shadow episodic as part of my training and pivot into television/streaming. I also recently finished shooting a rom-com short, about a fitness gym bro and his podcast, and fell in love with comedy! This opportunity would give me first-hand experience as I upskill from independent cinema to narrative streaming.

I love the show – the comedy beats hit hard, and the characters and world are so lovable. As someone who grew up in the GTA, so much of the humour is deeply relatable, and I feel like the freshest take I’ve seen in a long long time.

I did sketch comedy in university (as an actor-writer), but then after graduating pivoted to drama/horror. Recently, I worked with POV films on a short rom-com film – and it was my first time diving back into hard comedy, and I loved it! The film can be seen here: https://vimeo.com/1189821565?fl=pl&fe=vl (14 minute runtime), with the password: goodtimes . I’m excited to have the chance to gain more insight into directing/producing/ working in narrative comedy and would love the chance to be on the Office Movers set.