I stood on the sprawling concrete of Pinewood Toronto Studios last week, watching crews dismantle sets from a major Hollywood production. The mood was noticeably tense. “This might be the last big American shoot we see for a while,” whispered a veteran production designer who’s worked on everything from indie Canadian films to Marvel blockbusters.
Toronto’s film industry, worth over $2.2 billion annually and employing roughly 35,000 people, faces what many insiders describe as an existential threat. Former President Donald Trump’s campaign pledge to impose a 60% tariff on Canadian goods—explicitly including film and television production—has sent shockwaves through Toronto’s entertainment sector months before any potential implementation.
“We’re already seeing productions hit pause,” explained Monique Grignon, a veteran location manager with three decades in Toronto’s film scene. “Studios are waiting to see what happens in November before committing to Canadian shoots for 2025. That uncertainty alone is devastating.”
The anxiety rippling through Toronto’s film community isn’t merely speculative. Industry analysts at FilmOntario estimate that approximately 70% of Toronto’s film and TV production comes from U.S. studios and streamers. Under Trump’s proposed tariff structure, a $100 million production would suddenly cost American studios an additional $60 million just for choosing Canadian soil.
“No studio executive can justify that math to shareholders,” said Richard Pattinson, an economist specializing in creative industries at the University of Toronto. “Even with our favorable exchange rate and tax incentives, a 60% tariff would effectively price Toronto out of the market overnight.”
The interconnected nature of Toronto’s film economy means impacts would cascade beyond direct production jobs. I visited Gord’s Equipment Rentals in Etobicoke, where owner Marsha Gordon showed me a warehouse of specialized film gear sitting unusually idle. “We’ve already had three major bookings canceled since Trump started talking tariffs,” she told me. “This isn’t just about actors and directors—it’s carpenters, caterers, drivers, costume shops, and hundreds of small businesses like mine.”
Data from the Toronto Film Office reveals the city hosted 1,676 production projects in 2023 alone, generating over $2.29 billion in direct spending. The industry has grown by approximately 3.8% annually since 2019, despite pandemic disruptions. This growth trajectory now faces serious disruption.
City officials appear increasingly concerned. Toronto Mayor Olivia Chow recently convened an emergency industry roundtable, calling the potential tariffs “a direct attack on thousands of Toronto jobs.” The meeting produced a working group tasked with developing contingency plans.
The federal response has been more measured. A spokesperson for Canada’s International Trade Minister Mary Ng stated: “While we take all trade threats seriously, we’re also aware that campaign rhetoric often differs from actual policy implementation.” The statement emphasized ongoing efforts to highlight the integrated nature of North American entertainment production to U.S. stakeholders.
This diplomatic caution offers little comfort to industry workers already feeling the pinch. At a crowded union hall near Liberty Village, I listened as film crews voiced their fears during a hastily organized meeting. “My last three gigs have been canceled,” said Eric Mendes, a gaffer with 15 years’ experience. “Studios are already hedging their bets by booking alternative locations in Atlanta and New Mexico.”
The potential collateral damage extends to Toronto’s cultural identity. The city has long leveraged its film industry presence to boost tourism and international prestige. “When people see Toronto on screen—even disguised as New York or Chicago—it puts us on the global map,” explained Angela Hernandez, director of tourism development at Destination Toronto. “Losing that visibility has long-term consequences beyond just immediate job losses.”
Some industry leaders are exploring adaptive strategies. Charles McFarlane, who runs a mid-sized production company specializing in service work for U.S. clients, told me his team is exploring new business models
