Launching globally on Prime Video October 10, 2025
DIRECTED BY: Colin Hanks PRODUCED BY: Colin Hanks, Sean Stuart, Glen Zipper, Ryan Reynolds, George Dewey, Johnny Pariseau, Shane Reid EXECUTIVE PRODUCED BY: Ashley Fox, Patrick Gooing CO-EXECUTIVE PRODUCED BY: Chris Candy, Jennifer Candy-Sullivan CINEMATOGRAPHY BY: Justin Kane EDITED BY: Shane Reid, Darrin Roberts MUSIC BY: Tyler Strickland
SHORT SYNOPSIS: From director Colin Hanks and producer Ryan Reynolds comes John Candy: I Like Me. Those who knew John best share his story, in their own words, through never-before-seen archival footage, imagery, and interviews. It’s a documentary of the life, career, and loss of one of the most beloved actors of all time. John Candy: I Like Me premieres at the 50th Toronto International Film Festival on opening night, Thursday, September 4, 2025. The film debuts globally on Prime Video on October 10, 2025.
Photo Credit: Prime Video
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LONG SYNOPSIS: From director Colin Hanks and producer Ryan Reynolds—both lifelong John Candy fans—comes John
Candy: I Like Me, an exploration of the life and legacy of the comedic icon. The film showcases Candy’s remarkable career, from his breakout turn on SCTV in his beloved native Canada to starring in some of the biggest comedies of all time. But it also delves deeply into Candy’s life off-camera, through never-before-seen home videos and the personal recollections of those who knew him best. A remarkable roster of family members, close friends and colleagues share their memories of John Candy, creating an intimate and indelible portrait of an unforgettable talent who helped define a cinematic era.
John Candy: I Like Me tells the story of a son, husband, father, friend, and star, driven to bring joy to audiences and loved ones while battling personal ghosts and Hollywood pressures.
John Candy: I Like Me is directed by Colin Hanks and produced by Colin Hanks, Sean Stuart, Glen Zipper, Ryan Reynolds, George Dewey, Johnny Pariseau and Shane Reid. Ashley Fox and Patrick Gooing are the executive producers, with Chris Candy, Jennifer Candy-Sullivan and Rosemary Candy serving as co-executive producers. In addition to Candy’s immediate family, the friends and former colleagues featured in the film include Dan Ackroyd, Eugene Levy, Steve Martin, Bill Murray, Catherine O’Hara, Martin Short, and many more.
John Candy: I Like Me was edited by Shane Reid and Darrin Roberts. Justin Kane was the director of photography. The music is by Tyler Strickland.
DIRECTOR’S STATEMENT
Directing John Candy: I Like Me began as a desire to honor the life and career of a true comedy icon, but it became a journey of discovery and rediscovery for all of us.
I have vivid memories of being in John’s presence when I was a young kid. I remember he made me feel listened to, understood and that my opinions and feelings mattered. Then, growing up in the ’80s, I saw him in a ton of movies and thought he was the funniest guy. So for me, there was a personal component in wanting to make this film, but it also appealed to me as a fan. I have always been blown away by his immense talent, but the more we dug into his evolution as an actor, as well as his personal life, that respect grew immensely.
We all knew that we didn’t want the film to just be a laundry list of the many films he made and what a great guy he was. I needed something more. Once we learned about his own father’s untimely passing and the lingering childhood trauma and coping mechanisms, added to the fact that John died of the same cause, we saw that these facets of his life were both heartbreaking and relatable. That became a touch point for me. After speaking with John’s children, Chris and Jennifer Candy, and hearing their memories of their father and the hopes they had for the film, I knew we were aligned.
That was really the genesis for me—hearing that they wanted to tell the same story I did. It also didn’t hurt getting a supportive call from Ryan Reynolds saying, “I think there should be a John Candy documentary, and I think you should direct it.”
So many people have such wonderful feelings associated with watching John Candy’s work. We wanted to evoke that but also to create something that is so much more personal to John’s life off-camera.
For those who perhaps haven’t been aware of him, I hope it’s a good introduction and that they go watch his movies. And I’ll admit, I’m a bit jealous of those who get to experience those films for the first time. For those who have known and loved his movies, I hope they are able to walk away with a deeper understanding that John was exactly the way you hoped he would be and even more so. The feeling that you had watching him—if you multiplied that exponentially, that’s what it was like to interact with him. It really was a gift. He truly was a unique person…a whole person.
Hopefully people will get a sense of that after watching the film.
A CONVERSATION WITH COLIN HANKS (Director/Producer), RYAN REYNOLDS (Producer) CHRIS CANDY AND JENNIFER CANDY-SULLIVAN (John Candy’s son and daughter and Co-Executive Producers)
Q: It has been more than 30 years since John Candy’s passing. Why was this the right time for this documentary?
RYAN: There are so many reasons, but I think the primary one is that John informed so much of my own work and perspective. I would characterize myself as something of a super fan. I know how it made me feel when he passed in ‘94. I think that was the first time it hit me really hard when a celebrity, someone who was larger than life, passed away.
COLIN: He left us so young, 43, which is staggering now when you think about it. All these years later, many people still have such wonderful feelings associated with watching a John Candy film. We wanted to evoke that but also to create something that is so much more personal to John’s life off-camera. I also hope people will realize that you can still recapture those feelings when you see his films now. They are still just as present.
RYAN: I find it interesting how the love for someone who has given us the gift of laughter increases exponentially when they’re gone and how easy it is for us to take it for granted while it’s there because it feels so abundant. I realized the resource of his talent and his presence was no longer inexhaustible and it really touched me. With this documentary, I want to share the things that I love about John. It’s something I have been passionate about my entire adult life, so it’s a bit of a dream coming true.
CHRIS: We actually had been approached by other producers who wanted to tell our dad’s story, but as a family we just weren’t there yet. Then Ryan Reynolds and George Dewey at Maximum Effort said they were interested in doing a video for the anniversary of my father’s passing and wanted to get to know me and my sister and my mother. That’s the organic process of how this got started, but really it was just us agreeing to do it. Maximum Effort had a ton of ideas, and when it came to finding a director, Colin was the perfect fit because he had an understanding and a sensitivity that I knew my mom would be comfortable with. He was familiar, which is really helpful when you’re going into this space. What was mind-blowing for me was how much I didn’t know. What I learned through this process was cathartic for me personally, and I’m sure I can speak for my mom and sister. When my father passed away, it was so abrupt. This film feels like a proper goodbye.
JENNIFER: When Ryan talked to us about his love for our dad and his interest in doing a documentary, I was ecstatic. It was important for our family to be involved to honor his legacy in the right way, not that it wouldn’t have been, but it’s nice to be included. It was an opportunity for my mother, brother and I to share a different side of him—one that people might not have known. And I would say the timing was perfect.
Q: The film features an extraordinary roster of friends and former colleagues, sharing their memories of John. Many of them are legends in their own right, including Dan Ackroyd, Eugene Levy, Steve Martin, Bill Murray, Catherine O’Hara, and Martin Short, to name only a few. Can you talk about their involvement?
COLIN: Luckily, pretty much everyone we approached about participating in this documentary said yes. And then it was really just a matter of wrangling schedules—that always tends to be the biggest issue. But all of them were incredibly open and forthright about their personal experiences with John.
RYAN: I think that’s in large part due to Colin who has known a lot of them for quite some time. Colin did the lion’s share of the interviews, and I’m really grateful that he did, because he asked the right questions and he had the kind of objectivity that I don’t know if I necessarily would’ve had. But above all, I would say it’s John Candy who drew these people to the interview chair.
COLIN: We were so grateful to have the people closest to John share those tender and thoughtful moments. And, thanks to his family—Rosemary, Chris and Jennifer—we also had a treasure trove of personal archives, including a ton of family photos and home videos. I knew it was going to be a challenge to connect everything and editing was an integral part of it. We had an amazing editing team, with Darrin Roberts and Shane Reid, and an incredibly talented composer in Tyler Strickland, who did our score. The three of them together were lifesavers.
Q: John Candy was extremely proud of his native Canada, where he first made his name on SCTV. Why do you think he stood out in an ensemble of other future comedy greats?
COLIN: Obviously, I think his talent is first and foremost, which is really saying something when you consider the murderers row of talented people that he came up with.
RYAN: For sure. SCTV is a religion in Canda.
COLIN: He had a presence; our eyes were instantly drawn to him, and I’m not talking about his weight in any way, shape, or form. I’m talking about just his frame and the way that he carried himself. He was just so agile and strong and quick-witted. He had an energy that was captivating and a sort of magnetic star quality that doesn’t come around very often. He was one of those generational talents who was not only able to finesse and hone his skills but was also able to translate that to the screen, which is not an easy thing to do. It’s almost unnatural in the way John seemed to make it almost effortless.
Q: After making the jump to feature films, John Candy went on to create some of cinema’s most memorable and beloved characters. Why do you think he was so embraced by moviegoers?
JENNIFER: His characters are so relatable—I think everyone can relate to some aspect of Uncle Buck or Del Griffith in Planes, Trains & Automobiles, or Chet Ripley in The Great Outdoors, or any other of his many roles. There’s something in all of them that makes you think, “Oh, that’s me,” or “Oh, I know someone like that.” And it makes you feel comfortable, as if you’d known this guy for years. You only see him on the screen, but he was able to connect with people on a personal level.
CHRIS: That’s exactly it. The characters he created weren’t too far from someone you might know in your real life. They were more or less within the realm of somebody you could bump into. You go to get your car work done and you’re dealing with an Uncle Buck, or you’re on a plane and find yourself sitting next to a Del Griffith. These are relatable people, and I believe that that’s why those films and those characters are so enduring.
Q: John Candy’s films and the characters he created have definitely proven to be enduring, but do you also see his influence today?
RYAN: Speaking for myself, you can see his influence riddled throughout my work. The movies I write and produce all have nods to John. For example, the coffee mug in Deadpool & Wolverine that says “I Like Me” is a direct reference to one of his iconic lines, and, of course, we incorporated it into the title of this documentary. And if you look at Deadpool & Wolverine, the structure of it is very much Planes, Trains and Automobiles. There’s even a moment where Hugh Jackman’s character, Logan, tears Deadpool a new one while sitting in this van together. That was really inspired by the motel scene, where Steve Martin’s Neal Page just eviscerates John’s character, Del Griffith. And Del is so hurt by this and offers us this moment of clarity, almost an epiphany. He says, “I like me, my wife likes me, my customers like me.” And, wow, do I find that moving. It’s a moment where I see the character persona fade into reality, or is it reality fading into a persona? But it’s one or the other and they’re both beautiful.
Q: With this documentary, you showcase the scope of John Candy’s remarkable career in films and on television. But there are also deeply personal revelations about his life off the screen, including the trauma of his childhood. Can you talk about why that was important and the impact of that on him?
COLIN: I think when you experience any kind of trauma in life, it affects you for the rest of your life, whether you’re aware of it or not. That’s a universal thing. As the saying goes, “Laughter is the best medicine,” so it doesn’t surprise me that John started out in comedy and on the stage at Second City. And then, at his core, John was such a loving family man, which I believe affected some of the roles he took. I would much rather have the film speak to this than me, but I think everything about his early life impacted his life later on, often in some really beautiful ways, and it is an honor to be able to show some of that.
CHRIS: The trauma of his father dying when he was five years old forced him to grow up early, and it influenced not only his professional career but also how he was as a father. Our dad was incredibly curious and was bold enough and strong enough to explore what would be the thing to make him feel better. And I think for him to have that curiosity, and eventually to go into therapy, is a sign of that positive, inquisitive spirit. But at the core of all of that was this scared little kid who was still really angry and upset that he lost his dad. And I feel that I can speak to that because that was also my experience.
JENNIFER: Absolutely. It was hard on him, but I also feel that he became the person he was because of that trauma. Being the type of person who loves to make everyone happy, he experienced this tragedy in his family, and for him it was like, “Okay, I can do this. I’m going to make everyone laugh. I’m going to find my path.” And it took him a while to truly understand what that meant to him. As a family man, behind the scenes, he was 100% present for us, which was very special.
RYAN: Losing your dad at such a young age, that’s always going to leave a mark. I see parallels in John being a present father while, to a certain extent, feeling a ticking clock a little bit—got to get this done, got to get that done, got to be everything to everybody all the time. That’s a bag of rocks you don’t really have to carry, nor should you. It’s easy to say he died of a heart attack, but I think there’s something to be said about running out of batteries, in a way. And I find it ironic that his heart might have taken him from us, but it’s the thing that really stayed behind.
Q: What do you hope audiences take away from this film?
CHRIS: My hope with this is that they remember his amazing career and maybe revisit some of those movies because they’re so much fun and an essential part of the collective comedy universe. But on a deeper level, I’m so happy that we had the opportunity to really dive into who my dad was. I hope people will better understand what led him to the vices in his life, and that the struggles he had were rooted in something very painful, which traveled with him throughout his life. And as a documentary, this a fitting supplement to his catalog of films.
JENNIFER: I agree. I hope it results in a resurgence of some of his classic films, because they are still so entertaining. And perhaps they might inspire a new generation of filmmakers to create more family-friendly comedies that everyone can enjoy.
COLIN: In so much of John’s work, something about his performance made people feel a little bit better about their day or about themselves or even about humanity, if we want to be grandiose. But the tricky thing with feelings is that they’re ephemeral, and when he passed, it seemed like they were taken away along with him. I hope people are not only reminded of his talent and his significance in cinema, but also of the feelings they had watching his movies. And film is forever, so just because John is no longer here and making movies, you can go recapture those feelings again.
RYAN: I think most importantly, John Candy: I Like Me is about a man’s life, not his death. John spent his life not just entertaining us but also being there for the people he loved. He was a good person when nobody was watching, and that is a legacy worth acknowledging…worth remembering.
ABOUT THE FILMMAKERS
COLIN HANKS (Director/Producer) is a versatile actor and filmmaker whose thoughtful approach has led to a successful, wide-ranging career across genres and mediums. Hanks previously received praise for his work as a documentary filmmaker for his directorial debut, All Things Must Pass: The Rise and Fall of Tower Records, which premiered at SXSW in 2015. That was followed by Eagles of Death Metal: Nos Amis (Our Friends), which aired on HBO in 2017 and received Critics’ Choice Documentary Award nominations. He also directed the animated short The Amazing Adventures of Wally and the Worm, which premiered at the 2017 Tribeca Film Festival. Hanks is currently starring with Bob Odenkirk and Sharon Stone in the action thriller Nobody 2. He will next be seen in the historical drama Nuremberg (release date 11/7), alongside Russell Crowe, Rami Malek, and Michael Shannon.
He recently completed production on season 3 of Apple TV+’s Silo and the indie action feature Lucky Strike, opposite Scott Eastwood. In 2024, he starred in the romantic comedy And Mrs, opposite Billie Lourd and Aisling Bea, and voiced a role in the animated Netflix feature Orion and the Dark, produced by DreamWorks. In 2022, Hanks starred in Peacock’s critically acclaimed limited series A Friend of the Family, opposite Anna Paquin and Jake Lacy. Written by Nick Antosca and directed by Eliza Hittman, the series is based on the shocking true story made famous by the documentary Abducted in Plain Sight. That same year, he portrayed Barry Lapidus in Michael Tolkin’s Paramount+ limited series The Offer, based on the making of The Godfather. In 2021, he appeared in Ryan Murphy’s American Crime Story: Impeachment for FX. On the big screen, Hanks reprised his pivotal role in Sony’s global blockbuster Jumanji: The Next Level in 2019. He previously appeared in Elvis & Nixon, alongside Kevin Spacey and Michael Shannon; No Stranger Than Love, opposite Alison Brie; Parkland; The Guilt Trip; Lucky; W.; The House Bunny; Untraceable; The Great Buck Howard; Peter Jackson’s King Kong; Orange County; and the cult comedy Get Over It. On television, Hanks starred in the CBS comedy Life in Pieces and Fox’s The Good Guys. In 2014, he received widespread acclaim for his performance in FX’s Fargo, earning both Emmy and Golden Globe nominations for Best Supporting Actor in a Limited Series or Movie. His additional TV credits include Dexter, Mad Men, Burning Love, and Drunk History. Hanks began his career with standout roles in Steven Spielberg’s Emmy-winning miniseries Band of Brothers and in Ken Lonergan’s play This Is Our Youth in London’s West End. He currently resides in Los Angeles.
RYAN REYNOLDS (Producer) is one of Hollywood’s most diverse leading men, seamlessly transitioning through varied genres of drama, action and comedy in his rich and ever-evolving career. He is equally as successful off-screen as a producer, screenwriter, entrepreneur and marketing powerhouse. Reynold is co-founder of his production company, Maximum Effort Productions
Reynolds is the Golden Globe–nominated star and producer of the 20th Century Fox billion-dollar franchise Deadpool. The movie opened in February 2016 and shattered expectations, opening to $152.2 million over the four-day Presidents’ Day weekend, making it the biggest R-rated opening of all time and the biggest February opening in box office history. The superhero juggernaut went on to replace Matrix Reloaded as the highest-grossing R-rated film in history with more than $750 million globally. The film received two Golden Globe nominations: a Best Actor nod for Reynolds and a Best Picture nomination, making it the first live-action superhero movie to pick up a Golden Globe nomination in the Comedy or Musical category. The film also received a Writers Guild of America (WGA) Award nomination for Best Adapted Screenplay and a Producers Guild of America (PGA) Award nomination for Best Picture. The highly anticipated sequel, Deadpool 2, was released in May 2018, bringing in more than $748 million globally, making it the highest-grossing title in the X-Men universe. Deadpool & Wolverine, directed by Shawn Levy, hit theatres in July 2024 and quickly became the highest-grossing R-rated film in history, once again shattering box-office records. Reynolds’ upcoming projects include Mayday, alongside Kenneth Branagh for Apple TV+. His recent film credits include Paramount’s IF, directed by John Krasinski; Spirited, for Apple TV+; the musical reimagining of the Charles Dickens classic A Christmas Carol, opposite Will Ferrell and Octavia Spencer, which quickly became the most watched Apple TV+ movie to date; and the hit Netflix time-travel adventure film The Adam Project, produced by Maximum Effort and 21 Laps and directed by Shawn Levy. The Adam Project is Netflix’s fourth most-viewed English-language movie of all time, making Reynolds the only actor with three films on Netflix’s all-time top 10 list (Red Notice, The Adam Project, Six Underground). He also starred in Disney’s Free Guy, which he produced under his Maximum Effort banner. The action comedy opened at number one at the box office and grossed more than $330 million globally during the pandemic. Reynolds is the star and executive producer of the Emmy-winning Welcome to Wrexham on FX alongside Rob McElhenney. The docuseries follows the pair as they navigate running the third-oldest professional Football Club in the world. The series has also earned a PGA Award and Critics’ Choice Awards.
Maximum Effort recently inked an exclusive first-look at 20th Television and also has first-look deal with Paramount for features. Beyond acting, Reynolds is a successful entrepreneur and an award-winning marketer, creating breakthrough campaigns for Deadpool, as well Aviation Gin, Mint Mobile and the Match Group. He is an owner of Aviation Gin, Mint Mobile and Wrexham Football Club; Chief Creative Officer of MNTN. He has been recognized as one of the most creative people in business by Fast Company, The Hollywood Reporter, The Wall Street Journal and AdWeek, among others. Reynolds launched The Group Effort Initiative along with his wife Blake Lively in 2020 via their companies Maximum Effort and B for Effort. The GEI program creates a pipeline for members of underrepresented communities to get real experience towards lasting careers within the entertainment industry. Reynolds is also the founder of The Creative Ladder, a nonprofit that helps make creative careers more accessible to all, especially those from underrepresented communities.
SEAN STUART (Producer) is the founder and president of Sutter Road Picture Company, where he has produced Emmy- and PGA Award-winning What’s My Name: Muhammad Ali, directed by Antoine Fuqua; and Grammy Award-winning Jazz Fest: A New Orleans Story (2023), directed by Frank Marshall. Stuart’s recent projects at the Toronto International Film Festival include Road Diary: Bruce Springsteen & The E Street Band (Toronto, 2024) and the Critics’ Choice Documentary Awards-nominated Sly (Toronto, 2023), both directed by Thom Zimny. Stuart’s other projects include the Emmy-nominated Hulu feature Diane von Furstenberg: Woman in Charge (Tribeca, 2024); The Blue Angels (Amazon/IMAX); and for HBO Max, the Emmy-nominated series Charlie Hustle & the Matter of Pete Rose, directed by Mark Monroe, and Elizabeth Taylor: The Lost Tapes, directed by Nanette Burstein (Cannes/Tribeca, 2024). His productions nominated for 2024 News & Documentary Emmy Awards include Chowchilla (CNN), directed by Paul Solet, and Willie Nelson & Family (Paramount+), directed by Thom Zimny and Oren Moverman (Sundance, 2023).
Additionally, Stuart is a founding partner of Company Name, alongside Colin Hanks. Company Name’s notable works include Say Hey, Willie Mays! (HBO, 2022), produced with LeBron James, and Thriller 40 (2023), a collaboration with Sony Music for Paramount+.
GLEN ZIPPER (Producer) is the founder and president of Zipper Bros Films. He formerly served as an assistant prosecutor in Hudson County, New Jersey. Zipper produced the Academy Award-winning documentary Undefeated as well as the recent hit films The Blue Angels for IMAX and MGM/Amazon Studios and Chowchilla for MAX. In addition, he created and executive produced Netflix’s original documentary series Dogs and Cat People. In recent years, Zipper’s partnership with J.J. Abrams’ Bad Robot Productions has yielded such well-known titles as Netflix’s Challenger: The Final Flight, Showtime’s UFO, and the HBO feature Elizabeth Taylor: The Lost Tapes, the last of which premiered at the 2024 Cannes Film Festival. Zipper is currently producing his first narrative feature, Grand Gear, alongside J.J. Abrams for director Takashi Yamazaki.
GEORGE DEWEY (Producer) is the co-founder of the entertainment company Maximum Effort with Ryan Reynolds. He is the marketer behind the Deadpool franchise, Aviation Gin, and Mint Mobile campaigns as well as Maximum Effort’s trademark Fastvertising work. Dewey also serves as a producer on films, including Deadpool & Wolverine, Free Guy and Spirited, and series, including Welcome to Wrexham. He began his career as a copywriter at ad agency McCann.
JOHNNY PARISEAU (Producer) is Co-President of Production at Maximum Effort, alongside Ashley Fox, overseeing the company’s film and TV slate. Previously, Pariseau was SVP of production at MGM and a literary rights agent at UTA.
SHANE REID (Producer/Editor) is an American feature and commercial director, producer and editor living in Los Angeles. The year 2023 altered the course of Reid’s career path when he landed editor jobs for Sony’s Ghostbusters: Frozen Empire, Marvel’s Deadpool & Wolverine, and Sony’s Saturday Night, a film about the opening night of Saturday Night Live in October 1975. Marking a big year for Reid’s directing and producing career, in 2025, he directed the new Ad Still. Always. Forever for GoodYear with Superprime Films & BBH. He is set to direct his first feature film in 2026. Reid is also partner of the award-winning post house Exile Edit in Santa Monica, alongside partner/editor Kirk Baxter. Reid has worked with top brands, including Apple, Adidas, BMW, Hennessy, Audi and the Olympics. Winning multiple awards and being nominated for an Emmy and Cannes Lion in the commercial space, he quickly become one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat, and Chloe Zhao. He has also cut multiple music videos, for Taylor Swift, Paul McCartney, Florence + The Machine, and Kamasi Washington. In 2016, Reid edited the feature documentary One More Time With Feeling, directed by Andrew Dominik, which followed musician Nick Cave recording his studio album Skeleton Tree while grieving the tragic loss of his son. The film was shot in 3D black and white by Alwin Kuchler and Benoit Debie and premiered at the Venice International Film Festival, where it garnered critical acclaim and was picked up by Picture House for a theatrical release.
DARRIN ROBERTS (Editor) is documentary editor based in San Pedro, California, with more than 15 years of experience in documentary shorts, features, and series. He has collaborated with filmmakers across the Los Angeles creative community, contributing to projects for Netflix, HBO, Amazon/MGM, and more. A Southern California native, Roberts developed an early love of cinema thanks to his father, and inspired by his mother. He later followed that passion to the USC School of Cinema-Television (now the School of Cinematic Arts).
Roberts brings a deep commitment to craft and storytelling to every project, supporting producers and directors in shaping stories with humor, social impact, and emotional resonance. In 2021, he edited the Netflix short film Audible, which was later Oscar-nominated for Best Documentary Short. This is his third collaboration with director Colin Hanks.
JUSTIN KANE (Director of Photography) gravitates to evocative visual storytelling across narrative features, documentaries, commercials, and music videos. A graduate of the American Film Institute with an MFA in Cinematography (2013), Kane has built a diverse portfolio that showcases his versatility and collaborative spirit through an honest and connective lens. Kane’s narrative work includes the Student Academy Award-winning 35mm film Interstate (2013), Teenage Cocktail (SXSW, 2016), and the recently finished Giant Void, which is set to hit festivals in 2026. His documentary credits feature high-profile projects such as Road Diary: Bruce Springsteen & The E Street Band (Hulu/Disney), Sly (Netflix, TIFF 2023), and Frank Marshall’s IMAX epic Jazz Fest: A New Orleans Story (Grammy Award for Best Music Film, 2023). Kane has also shot upcoming releases like Vice’s Better Angels: The Gospel According to Tammy Faye (Sundance, 2024). Kane’s commercial work spans major brands, including Google, OpenAI, Uber, Chase, Adobe, and eBay, while his music video collaborations feature artists such as Bruce Springsteen, Wallows, Eels, and Audien. Kane’s work embodies the many layered textures of global cinema, where a universal human experience intersects with a hauntingly personal narrative point of view.
TYLER STRICKLAND (Composer) is an Emmy Award-winning film composer and music producer based in Los Angeles, California. Over the past 15 years, he has scored more than 80 films and series that have collectively received over a dozen Emmy nominations and have won numerous awards from the most prestigious film festivals worldwide. Strickland is no stranger to television, having composed for Stephen King’s Castle Rock for Hulu, Netflix’s Chef’s Table universe, hit true-crime series like The Fox Hollow Murders (Hulu), John Wayne Gacy: Devil In Disguise (Peacock), and HBO’s epic six-hour series Edge Of The Earth, to name a few. In 2022, Strickland won an Emmy Award for his score for the six-part Netflix series Cat People, and just two years later, he received another Emmy nomination for HBO’s Navajo Police: Class 57 series. His other recent projects include the Netflix hit Sly, on the life and legacy of Sylvester Stallone; Selena & Yolanda, about pop music icon Selena; and in 2024, he attended the Cannes Film Festival for the world premiere of his film on Faye Dunaway for HBO, titled Faye, directed by Laurent Bouzereau and produced by Amblin Entertainment. Strickland’s 2025 releases include Peter Cilella’s sci-fi thriller Descendent, starring Ross Marquand and Sarah Bolger, which premiered at SXSW and was released theatrically by IFC. He is currently collaborating with Academy Award-winning director Frank Marshall on his next film.