While MARZ maintains an office in Toronto, it is a remote-first company with a distributed workforce based in cities around the world, including Vancouver, Winnipeg, Montreal, Madrid, Los Angeles, Melbourne, London, Mumbai, Tel Aviv, and Mexico City.
Lon Molnar is Co-President of Monsters Aliens Robots Zombies (MARZ), a Toronto-based technology company and VFX studio focused exclusively on TV and episodic projects. MARZ has worked and is working on various original shows on streaming platforms, including all seasons of The Umbrella Academy (Netflix), WandaVision (Marvel) and Watchmen (HBO).
Before MARZ, Lon was CEO of Intelligent Creatures, a VFX studio focusing on feature-film projects such as Watchmen (movie), Piranha 3D (!), Babel and Mr. and Mrs. Smith. In 2018, Lon and co-president Jonathan Bronfman started a new VFX company named MARZ, with the goal of delivering feature-film quality VFX on TV timelines.
Jonathan Bronfman is a Toronto-based film producer and entrepreneur. He is the Co-President of MARZ and the founder of JoBro Productions, a company that specializes in structuring, financing and producing domestic and international co-productions. Serving as President, he built JoBro from a small startup to an established production team that has worked on movies such as The Calling (2014), Bang Bang Baby (2014), The VVitch (2015), Stockholm (2018) with Ethan Hawke, and many more. Prior to starting his production company, Jonathan received his Bachelor of Commerce from the Desautels Faculty of Management at McGill University, and worked for several years alongside Canadian producer Martin Katz.
Matt Panousis, COO and co-founder of MARZ, was brought into the company by Jonathan Bronfman in 2018 as the Director of Strategy and Business Affairs. After graduating from Queen's University law school, he co-founded and drove several startups to marketable ventures which is his focus at MARZ. He works on strengthening the company's VFX focus on TV and film. Attracted by the growing streaming market and its ambitious content, he saw a path developing for a tailored VFX value chain for top-tier TV.