Vince Di Clemente

Vince Di Clemente was born in Chieti, Abruzzo, Italy on August 15, 1955. He is the son of working-class parents Antonio, a proficient pianist, gregarious taxi driver and devoted father and pragmatic, loving mother Maria Pia, a talented seamstress. They arrived by ship in Halifax, Nova Scotia on November 10, 1958 in the middle of a punishing Canadian snowstorm and settled in Montreal. Vince developed his passion for film while watching old Sci-Fi and western serials in the basement of his local church. That love was nurtured every Saturday at the local cinema with double-features of B Movies like La révolte des triffides (1963) and every night in front of the TV devouring endless hours of shows like the original Star Trek (1966), The Beverly Hillbillies (1962), and Les monstres (1964).

Vince studied cinema and photography at Dawson College and was fortunate enough to land a job as an intern photojournalist for The Associated Press during the 1976 Montreal Olympics. During that historic month, he worked closely with such Pulitzer Prize-winning photographers as Eddie Adams and Horst Faas. When there were no photographers available, Vince was sent on assignment to cover special events and newsworthy stories. His photographs have appeared on the front pages of The New York Times and other mainstream papers. He also spent many hours in the darkroom with photographic innovators who wrote the book on darkroom technique.

While he was obtaining his BFA in Film Studies at Concordia University, Vince got a head start in his film career as an assistant editor on TV commercials for Guy Fournier and other Montreal A-List production companies. He was also Gilles Carle's personal assistant on Fortune 500 commercials.

Drawn by the boon in Canadian feature film production in the early '80s, he began working as a production assistant on several films produced by mavericks of the industry such as Robert Lantos and Harold Greenberg.

Vince had the opportunity of working closely with some of the top talent and film luminaries of the time. He was the personal driver and assistant to Lee Majors, Kate Jackson, Sterling Hayden, Elliott Gould, and Rich Little.

Vince moved on to the camera department as an assistant cameraman on features. This led to work on several IMAX films like Envol (1985) and Disney's CircleVision 360 productions for their theme parks.

Vince returned to post-production with Allegro Films in 1987 and was involved in pioneering non-linear editing with the Touchvision Editing System. He soon went on to work with numerous producers and directors as a Post Production Supervisor.

As his career progressed, he moved up to Production Executive and Associate Producer on feature films. His role allowed him to be part of every phase of production; from conceptualization, script development, financing, production, post production to marketing. His creative contributions were integral in fine-tuning the project throughout the production process.

Vince's first passion is screenwriting. He has been perfecting his craft since high school. He is a member of the Writers Guild of Canada and an official Screenwriting Mentor for Telefilm Canada. He has written several screenplays and was a contributing writer on C'est pas moi, c'est l'autre (2004), Le Monde perdu (1998) and Y a-t-il un flic pour sauver l'humanité ? (2000). He also acted as a script doctor on several produced films.

As Head of Creative Affairs at Dreamfactory Pictures, he was involved in developing several high-profile projects in the 100 million range and continues to be associated with the company in on-going development.

Vince is currently developing projects as a producer and screenwriter for his own production company Malocchio Films.