Tell us about how you got into the film and PR industry? Where are some of the places you've worked, both in Canada and the US?
Like many liberal arts students I had no idea what I wanted to do after I graduated. A career counselor at Western University suggested that since I’d majored in media studies (shout out MIT! Shout out Professor Blackmore!) and loved to yap, I should explore public relations. After an internship at the Canadian Opera Company I landed another internship at Alliance Films and got bit by the film bug.
I left Alliance to do unit publicity for CBC’s Battle of the Blades where I learned the inner workings of live reality TV. I then worked at rock-it promotions, CBC Television, and freelanced before landing back in film at Entertainment One heading up the publicity team for their Canadian film division. Along the way, I helped launch the Toronto Flower Market with Natasa Hansen, which remains the most fun and creatively fulfilling project of my career so far. A role on the international film team at eOne brought me down to LA in 2020. Not the greatest timing but I did manage to make it to one BAFTA ceremony before the world shut down!
I’m now working at Ginsberg Libby where I specialize in digital press campaigns for theatrical and streaming film releases. My clients include NEON, Focus Features, A24, Amazon / MGM Studios, Magnolia Pictures, and Roadside Attractions.
Why did you decide to move to LA? What drew you here and what were/are you hoping to achieve that you maybe couldn't find in Toronto?
As a kid I was obsessed with Old Hollywood so Los Angeles always loomed large in my imagination as this mythical place where Elizabeth Taylor and Paul Newman cruised the Sunset Strip. Once I began working in film and traveling to LA more regularly, the idea of moving here became more tangible and felt like a natural career progression. The opportunities here are so much greater than back home and have allowed me to work with the greatest creatives in the business.
I’ll never forget my first premiere at the iconic TCL Chinese Theater which is literally on the Hollywood Walk of Fame. It was a moment that would’ve blown 12 year old Natalie’s mind and really felt like a culmination of all my years of hard work.
Talk us through a typical awards season for you -- what are your responsibilities? What events do you have to organize or attend? What is your day-to-day schedule like?
Similarly to politics, awards season is long and grueling. It essentially starts around Labor Day when the fall festivals kick off and a lot of aspiring awards contenders premiere, setting the tone for the season to come. Awards campaigns run in tandem to consumer campaigns, and oftentimes having a film be a commercial success helps increase their viability in the race. The biggest hurdle to awards is getting voters to see your film so a huge part of the job is screenings. Sometimes we have talent in attendance so need to secure Q&A moderators that fit the vibe of the audience. And of course, there’s lots of red carpets! Ginsberg Libby oversees the Independent Spirit Awards so our team is out in full force walking nominees and presenters down the (blue) carpet. My favorite task at that event is manning the press tent where winners come in to do interviews after being awarded on-stage. They’re often so giddy and excited, I love to be a small part of this moment in their careers (and take learning the pronunciation of everyone’s name very seriously!).
What were some critically acclaimed or big films that you worked on this year?
I’m proud to say that I worked on four Oscar-nominated film campaigns this year - Sean Baker’s ANORA, Edward Berger’s CONCLAVE, RaMell Ross’ NICKEL BOYS, and Mohammad Rasoulof's THE SEED OF THE SACRED FIG. It’ll be an exciting night at the Dolby on March 2nd!
Another 2024 highlight was THELMA, which stars June Squibb in her first leading role at 94 years old. This movie is so charming and I love June’s attitude that it’s never too late to achieve your dreams.
What are some of the biggest films you've worked on through your career? And who are some of the actors you've worked with?
I’ve worked on hundreds of films in my career so it’s hard to narrow it down but some of my “greatest hits” if you will include Cate Blanchett on Hot Ones (for TÁR), Aubrey Plaza’s Thirst Tweets (for EMILY THE CRIMINAL), Sean Baker & Mikey Madison’s Notes On A Scene (for ANORA), Matt Damon’s Armchair Expert episode (for STILLWATER), Isabelle Huppert on Keep It! (for MRS. HARRIS GOES TO PARIS), and Emerald Fennell Reading Letterboxd Reviews (for SALTBURN).
Who was your favorite celebrity to work with? What did you do with them and why did they leave such a good impression?
I worked on WEIRD: THE AL YANKOVIC STORY with Daniel Radcliffe playing the legendary Weird Al Yankovic. Both are very kind, talented, generous, and (very importantly) punctual individuals which is remarkable given their respective levels of fame. I’ve also been fortunate enough to work with icons like Jane Fonda, Lily Tomlin, Mary Steenburgen, and June Squibb. One of the perks of my job is listening in on interviews and getting to hear these women talk about their experiences - they’ve seen this industry go through substantial changes and their wisdom and perspective has informed how I operate both personally and professionally.
What do you think is the state of the Canadian film industry? It's a big question, but do you think Canadian films are gaining traction or attention in Hollywood? Or is it still very localized?
I guess it depends on what you qualify as a Canadian film and if it needs to be funded by Telefilm or made in Canada in order to qualify as “Canadian”. There are so many talented Canadians making movies today that are crucial to the vitality of the industry. One of 2024’s biggest films was DUNE: PART 2, which was helmed by the visionary Canadian director Denis Villeneuve. Megan Park’s MY OLD ASS is a loving homage to Muskoka summers and hit #1 on Prime Video when it debuted this year. Matthew Rankin’s UNIVERSAL LANGUAGE fits the traditional Cancon definition and made the Oscar shortlist for Best International Feature.
I’m not trying to downplay the challenges of getting films made and financed in Canada, but the past 5 years have been challenging for the film industry overall and everyone is trying to navigate the changing tides. I have a lot of respect for Elevation Pictures who does an incredible job of championing homegrown talent.
What was your favorite film of 2025?
Well the year is young so I can’t call a favorite yet but I am hyped for MISSION: IMPOSSIBLE - THE FINAL RECKONING. Will this be Tom Cruise’s final outing as Ethan Hunt??
What is your favorite film of all time?
Impossible to choose just one! Instead I’ll share my Letterboxd Four Faves:
MOONSTRUCK, directed by Norman Jewison
LITTLE WOMEN, directed by Greta Gerwig or LITTLE WOMEN, directed by Gillian Armstrong (really depends on my mood)
MY FAIR LADY, directed by George Cukor
PADDINGTON 2, directed by Paul King
What advice do you have for other publicists or people looking to break into the film industry in LA?
This is a business based on relationships and you never know where an opportunity can come from. My personal motto is “you don’t have to be nice but you do have to be kind.” A key lesson for me was learning the difference between being direct and being rude. I try to operate with integrity and compassion, and believe that has led to me finding like-minded folks to work with.
