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The Academy of Canadian Cinema congratulates the outstanding filmmakers who have been nominated for the 1983 Genie Awards
BEST MOTION PICTURE/MEILLEUR FILM
The Grey Fox — p. Peter O'Brian
Harry Tracy — p. Ronald |. Cohen
Une journée en taxi — p. Robert Ménard
Quest for Fire — p. John Kemeny, Denis Héroux Threshold — p. Jon Slan, Michael Burns
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE MEILLEUR ACTEUR DANS UN ROLE PRINCIPAL
Gilles Renaud — Une journée en taxi
Saul Rubinek — By Design
Marcel Sabourin — Doux aveux
August Schellenberg — Latitude 55
Donald Sutherland — Threshold
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE MEILLEURE ACTRICE DANS UN ROLE PRINCIPAL
Sara Botsford — By Design
Rae Dawn Chong — Quest for Fire
Héléne Loiselle — Doux aveux
Monique Mercure — La Quarantaine
Andrée Pelletier — Latitude 55
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE MEILLEUR ACTEUR DANS UN ROLE SECONDAIRE
Nicholas Campbell — The Man in 5A
Doug McGrath — Porky’s
Gary Reineke — The Grey Fox
Wayne Robson — The Grey Fox
R.H. Thomson — If You Could See What | hear
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE MEILLEURE ACTRICE DANS UN ROLE SECONDAIRE
Genevieve Brassard — Doux aveux
Jackie Burroughs — The Grey Fox
Clare Coulter — By Design
Patricia Nolin — La Quarantaine
Trudy Young — Melanie
BEST PERFORMANCE BY A FOREIGN ACTOR MEILLEUR ACTEUR ETRANGER
Grand Bush — Hard Feelings
Bruce Dern — Harry Tracy
Richard Farnsworth — The Grey Fox
Jeff Goldblum — Threshold
Ron Perlman — Quest tor Fire
Jean Yanne — Une journée en tax
BEST PERFORMANCY BY A FOREIGN ACTRES: MEILLEURE ACTRICE ETRANGERE
Patty Duke Astin — By Design
Lee Grant — Visiting Hours
Glynnis O'Connor — Melanie
Marie-France Pisier — Hot Touch
Mare Winningham — Threshold
Charlaine Woodward — Hard Feelings
BEST ACHIEVEMENT IN ART DIRECTION MEILLEURE DIRECTION ARTISTIQUE The Grey Fox — Bill Brodie
Latitude 55 — Richard Hudolin Threshold — Anne Pritchard
BEST ACHIEVEMENT IN CINEMATOGRAPHY MEILLEUR DIRECTEUR DE LA PHOTOGRAPHii Une journée en taxi — Pierre Migno'
Threshold — Michel Brault
BEST ACHIEVEMENT IN COSTUME DESICA MEILLEURS COSTUMES
The Grey Fox — Christopher Ryan
Latitude 55 — Wendy Partridge-Hudolin Melanie — Julie Ganton
La Quarantaine — Huguette Gagné
Quest for Fire — John Hay
BEST ACHIEVEMENT IN DIRECTION MEILLEUR REALISATEUR
Les Fleurs Sauvages — Jean-Pierre Lefebvre The Grey Fox — Phillip Borsos
If You Could See What | Hear — Eric Till Une journée en taxi — Robert Ménard Melanie — Rex Bromfield
BEST ACHIEVEMENT IN FILM EDITING MEILLEUR MONTEUR
The Grey Fox — Frank Irvine cfe
Harry Tracy — Ron Wisman
Quest for Fire — Yves Langlois Threshold — Susan Martin cfe
BEST ACHIEVEMENT IN MUSIC SCORE
MEILLEURE MUSIQUE
The Grey Fox — Michael Conway Baker (The Chieftans) Threshold — Micky Erbe, Maribeth Solomon
Visiting Hours — Jonathan Goldsmith
BEST ACHIEVEMENT IN ORIGINAL SONG MEILLEURE CHANSON ORIGINALE Pn] Doux aveux “‘Doux aveux” — Réjean Marois, Fernand Dansereauy Les fleurs sauvages “Le Quéteux d’Amour” — Raoul Duguay ba (Claude Fonfrede) oe Harry Tracy “My Love for You” — Les Pouliot Melanie “Save My Soul” — Burton Cummings ¥ Scandale “Callgirl” — Luc Plammondon, Germain Gauthier © e Spring Fever (Sneakers) “Just One Chance to be Free” — Fred Mollin
BEST ACHIEVEMENT IN OVERALL SOUND
MEILLEUR SON D’ENSEMBLE
The Grey Fox — Joe Grimaldi, Austin Grimaldi, Rob Young, Gord Thompson
Harry Tracy — Don White, David Appleby, Rod Haykin
Une journée en taxi — Dino Pigat, Terry Burke, David Appleby, Serge Beauchemin
Quest for Fire — Ken Heeley-Ray, Joe Grimaldi, Austin Grimaldi, Claude Hazanavicius, Don White
Threshold — Bryan Day, Paul Coombe, Jack Heeren, Al Ormerod
BEST ACHIEVEMENT IN SOUND EDITING
MEILLEUR MONTAGE SONORE
The Grey Fox — Bruce Nyznik, Peter Thillaye, Tony Currie, Rod Crawley
Harry Tracy — Bruce Carwardine, Glen Gauthier, Brian Rosen, Brian French Tim Roberts
Melanie — Wayne Griffin cfe Dennis Drummond
Quest for Fire — Ken Heeley-Ray, Martin Ashbee, David Evans, Kevin Ward
Threshold — Bruce Nyznik, Sharon Lackie, Tony Currie
BEST ORIGINAL SCREENPLAY
MEILLEUR SCENARIO ORIGINAL
Big Meat Eater — Laurence Keane, Phil Savath, Chris Windsor
The Grey Fox — John Hunter
Harry Tracy — David Lee Henry
Une journée en taxi — Roger Fournier
Latitude 55 — Sharon Riis, John Juliani
BEST ADAPTED SCREENPLAY FROM ANOTHER MEDIUM MEILLEUR SCENARIO TIRE D‘’UN AUTRE MEDIUM
Hot Touch — Peter Dion
Melanie — Richard Paluck, (Robert Guza Jr )
BEST THEATRICAL DOCUMENTARY
MEILLEUR DOCUMENTAIRE
The Devil at your Heels — Bill Brind, Robert Fortier, Adam Svmansk\
Gala — Michael McKennirey, John N Smith
Jouer sa vie — Héléne Verrier
BEST THEATRICAL SHORT/MEILLEUR COURT METRAGE Elvis Gratton — Pierre Falardeau, Julien Poulin Le Toasteur — Michel Bouchard
Footsteps — Scott Barrie Bae The Only Game in Town — Ron Mann, David Fine
Prix Genie Awards 1983
ACADEMIE DU CINEMA CANADIEN ACADEMY OF CANADIAN CINEMA 331, avenue Clarke, App. 41, BI 14 nf 653 Yonge St., 2nd Floor, Montréal, Qué. H3Z 2E7 nll. Toronto, Ont. M4Y 1Z9 (514) 937-3619 (416) 967-0315
Le Théatre Royal Alexandra Theatre, Toronto March 23 mars 1983, 8pm. 20h. CBC Television
AIR CANADA (#)
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ppt FILM AND PHOTOGRAPHY,
29ESOURCE CENTRE MAR 15 1983
ee
AG
TRADE NEWS
‘Hydraulics’ moves producers to protest First Choice’s intentions
MONTREAL ~ First Choice Ca- nadian Communications, the national general interest pay- TV licensee, is under attack, accused by producers of trying to circumvent the regulations concerning its obligation to Canadian programming. Inde- pendent producers are up in arms about “scaffolding” pro- duction funds or, as the Ameri- cans Call it, “hydraulics.”
The situation has prompted a meeting between indepen- dent producers and represen- tatives of the department of Communications, and the Ca- nadian Conference of the Arts is spear-heading an investiga- tion of the issue.
Hydraulics, as the name im- plies, involves displacing a greater sum of money at one end by means of a much smaller input of money at the other. Concretely, it means writing off as a contribution to Cana-
dian programming production funds from foreign sources.
In one example cited by several sources who spoke with Cinema Canada, a Cana- dian producer had raised 80% of his budget abroad, and had gone to First Choice to raise the rest of his budget (20%). He was asked to request the production funds from the foreign source, and remit them to First Choice. First Choice would then remit the entire budget to the Cana- dian producer, marking off 100% (instead of 20%) as its contribution to Canadian pro- gramming; the Canadian pro- ducer could then simply repay the foreign producer.
Don MacPherson, president of First Choice, spoke to Cinema Canada but refused to com- ment on the above example unless the incident was fully identified and the producer named. “Every deal is different,
and I can’t speak hypothetically about the various situations,” he commented.
Asked about the Playboy deal as a Case in point, MacPher- son said that the only part of the Playboy production which will be marked against Cana- dian program requirements will be the $5 million-odd spent in licensing fees by First Choice. Originally, the rumors were that First Choice which had received $30 million from Play- boy Enterprises, would pass it on to the Canadian producer, claiming $35 million as Cana- dian content. But MacPherson denies that this was ever the case. ‘We thought we were doing something positive for this industry, bringing in foreign money to produce in Canada. Now all we get are questions like this.”
The Canadian Conference of the Arts has hired lawyer Doug
Majors resist Quebec film legislation
QUEBEC CITY — On Feb. 22-25, the Quebec government held parliamentary committee hearings on Bill 109, the pro- posed legislation concerning cinema and video in the pro- vince. Some 40 submissions were heard from various film industry sectors and, although critical of various details in the Bill, the provincial film industry is strongly behind the Parti Quebecois government's effort to legislate in this area. (An earlier cinema law, voted by the Liberal provincial govern- ment in 1975, laid some of the
NFB vs. USA
MONTREAL — National Film Board founder John Grierson would have been delighted, but no one else seems to be in the wake of the U.S. Justice Department's decision that three NFB documentaries con- stitute “political propaganda.”
On Jan. 13, the Board was advised by letter of the Justice
Department's decision that If
You Love This Planet, Acid Rain: Requiem or Recovery and Acid Rain From Heaven are political propaganda. Im- plementation of the decision would require the addition of a trailer to the films stating that the contents do not meet with the approval of the U.S. Govern- ment; the registration of the films under the Foreign Agents Registration Act ; and the filing of dissemination reports list- ing who has seen the films with the Department of Justice within 48 hours.
(cont. on p. 11)
77 eee ee ee
foundations the current legis- lation hopes to build on.)
Of primary importance to all concerned — but especially to the federal observers who are preparing their own film policy proposals — is the outcome of the confrontation stemming from the government's inten- tion to legislate in matters con- cerning distribution of films and the protestations of the major American studios, as represented by the Canadian Motion Picture Distributors Association (CMPDA), against such legislation.
In a brief which contains fundamental errors, the CMPDA states that it is categorically opposed to article 97 (which states that only Canadian citi-
zens or companies which are 80% Canadian may distribute films in the province) and arti- cle 107 (which sets a minimum percentage, to be established by the new Regie du cinéma et de la video, for the distributor and the exhibitor in their con- tractual agreements). The CMPDA brief also states that it takes exception to certains aspects of articles 75,79, 91 and 110 which, respectively, deal with distribution contracts, French versioning, the establish- ment of a monitored ticket sys- tem (“billeterie”’) and the legal rights to handle a film.
Like the independent distri- butors, the CMPDA applauds
(cont. on p. 14)
OTTAWA — The National Broad- cast Policy of Communications Minister Francis Fox has re- ceived approval by Cabinet (see draft document in Cinema Canada nos. 90/91). An official announcement is expected March 1.
As part of the policy, a pro- gram production fund of around $36 million has been approved, to come from consolidated revenues. The mechanism to feed the fund has not yet been finalised, but the Minister of Finance is expected to announ- ce a tax on cable operators, to be filtered through the con- solidated revenues to the pro- duction fund. The latter is still a matter of discussion between Communications and Finance,
‘Broadcasting gives CFDC $36 M
and could not become operative until the next budget is brought down.
The Canadian Film Develop- ment Corporation is accepting the responsibility of adminis- tering the production fund. Although members of the Mi- nister’s staff emphasize that the entire policy is intended as “the subject of a wide-ranging public debate” to elicit feed- back, the decision concerning the CFDC is probably irrever- sible. “That's basically an administrative item, and is likely to be a fait accompli by the time the debate begins,” said one insider.
Some parts of the policy will require legislation if long-term structural alterations are to be achieved.
Barrett to interview indepen- dent producers about the si- tuation and, to date, about 35 have been seen. Jack Gray and Jeffrey Holmes of the C.C.A. are heading up the study. Barrett has also written to all the pay- TV licensees for the details of their contracts with Canadian producers.
For his part, MacPherson is nonplussed by the CCA’s ap- proach. “You would think we were a government agency which could be called to ac- count. We’re a business, and, although I don’t mind talking to you about some aspects of our affairs, I'm surely not going to get into a discussion with the CCA about how we do business.” MacPherson com- mented that Barrett had been the legal counsel for Teleca- nada, the universal pay tele- vision applicant.
Clarifying his position further, MacPherson underlined that
the CRTC prohibited the pay licensees from producing, and they do not, indeed, produce. “But we do make deals. We got our license with an Export Division in place. The Cana- dian market is just too small and if we can’t make those foreign deals, then we can't find the money to really foster Canadian production.” Asked whether the money generated from a pay-TV sale to, say, HBO would find its way back to a Canadian producer written off against Canadian programming requirements, MacPherson declined again to comment in the abstract.
Among the producers who have been invited to participate in scaffolding, there is a clear sense that the situation was triggered by the Canadian Radio-Television and_ Tele- communications Commission in its initial decision concerning
(cont. on p. 11)
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March 1983 - Cinema Canada/3
Cover: The art of Sidney Goldsmith, senior scientific animator at the National Film Board of Canada, highlights the state of Canada’s unique contribution to animation, the subject of a feature article in this month’s Cinema Canada. The cover - especially drawn by Goldsmith for this issue — shows the expansion of the sun’s envelope, some four or five billion years from now, as the heat of the red giant fractures one of Mars’ moons.
No. 94 — March 1983
Publisher: Jean-Pierre Tadros, Editors: Connie Tadros, Jean-Pierre Tadros. Associate Editor: Michael Dorland. General Manager: Del Mehes (Toronto). Staff reporter: Bruce Malloch. Researcher: Yves
Opinion: The work of foreign agents by Ronald Blumer ,.............0-0+++0%5 16 Gagnon. Columnists : Les Wedman, Linda Kupecek, Mike Riggio, George Letters fe tg te ek elk ee eae ty ele Oat 6 al tere aie fen atw. eee eel a See hs ene sens ah ee ee wie tee, ® Wea e 16 C George. Art Direction : Claire Baron. Production, typesetting and layout Suzanne Gauthier and Margaret Vien for Compo Mediatexte, a division of Concept Mediatexte Inc. Subscription: Dianne Persson. CineMag Trade News ....... 1... cece eect e eee n eet enreeteeeees 3 . Advertising Manager: André Lauzon. Shoot Alberta by Linda Kupecek .........:cc cece cece een eee en een ennes 12 Production Guide by Del Mehes and Michael Dorland ...........++++++++: 38 pangcenuon information 3 Ope year Sa jemtiesle Andividaals $18. Box office grosses by Yves Gagnon .............++: PU Seen Nae ere menor oe ceeu a Lpen Luce. £241 C0 $5 postage tor USA anc’ oversees Two years (24 issues) : Individuals $34. Companies and institutions $40. Add $10 postage for USA and overseas. First class (one year, 12 issues) : Interview Individuals $30. Companies and institutions $36. Overseas: individuals 7 . : , Companies and institutions $44. Requests for replacement of missing Paul Lynch: The filmmaker as working-class hero by Connie Tadros ..... 20 nso issues will be honored for three months after the due date of the issue, Subscriptions will not be refunded. Features . . + 3 . Cinema Canada, founded by the Canadian Society of Cinematographers, Is Portrait of the animator as a rising star by Michael Dorland Ris ieee. > vey oie mertavedihy thal Ciiema Cannila Magaxine Foundation: President: Jean:Piscea As the grapefruit grows : a critical history of Canfilm policy Tadros, Vice-President George Csaba Koller, Secretary-Treasurer: Connie Tadros, by S d Gath 1 29 Director: George Campbell Miller. Editorlal information: All manuscripts, y Sandra Gathercole ........... 6 ee even eee teen ete eee Seaviited andlohetsereohs submitted must be accompanied by a.selfaddreseed A different kind of Red Scare by Mark JHeEjNidGrsoms ooh ck Cer he, La Bin 32 stamped envelope. While the editors will take all reasonable care, they will not be held responsible for the loss ofany such submissions. Opinions expressed within the Bi z e magazine are those of the author and not necessarily those of the editors. Cinema 1982 private-sector film production .................cc cee ee eee eee 18 = Canada is indexed in the Film Literature Index (Albany), the Canadian Periodical Index (Ottawa) and the International Index to Film Periodicals. Member of the Canadian Periodical Publishers’ Association. No part of this magazine may be Bookshelf by George L. George coward esd ewes eae ewvune er VUE UC ube s ese Ts 34 reproduced or transmitted in any form or by any means electronic or mechanical,
including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cinema Canada Magazine Foundation is a non-profit organization : Canadian Charitable Organization no. 044- 35 1998-2213, Published with the financial assistance of the Canada Council. Second class mail registration no. 3081. ISSN 0009-7071
Film Reviews Denys Arcand & Douglas Jackson’s ‘Empire Inc.” by Michael Dorland .... Barry Lank’s “Kelekis: Fifty Years in the Chips”, John Bluenther’s
“The Historical Dramatic Comedy of Punch and Judy”, Victor Dobchuk’s “So Far From Home?” by Rory Runnells Michael Murphy’s “Wild Goose Jack” by Joyce Nelson
MEMO
FROM: Film Studies Association of Canada TO: All Canadian Film Scholars SUBJECT: Manuscripts needed for CANADIAN FILM STUDIES
You are invited to submit manuscripts for publication in CANADIAN FILM STUDIES, a bi-lingual collection of scholarly work on Canadian cinema, to be published under the auspices of the Film Studies Association of Canada, the National Film, - Television and Sound Archives, and CINEMA CANADA The first volume is scheduled for Fall 1983.
Administrative and editorial office : 834 Bloomfield Ave., Montreal H2V 386, Telephone (514) 272-5354. Toronto office: 67A Portland St. Toronto MSV 2M39, Telephone (416) 696-6829. Mailing address: P. O. Box 398, Outremont Station, Montreal H2V 4N3.
Critical, theoretical and historical articles, primary materials, bibliographies, filmographies and archival materials will be-considered for inclusion in CANADIAN FILM STUDIES. First priority will be given to submissions on Canadian subjects
by scholars working in Canada, but the Editorial Board will also consider articles on Canadian subjects written outside Canada and articles by Canadian scholars illustrated by references to non-Canadian films.
The Editorial Board, composed of representatives from the FSAC and CINEMA CANADA will screen and edit all submissions, and when necessary will request evaluations of submitted material from readers expert in the field.
Manuscripts must be typed, double-spaced and in duplicate. Normally they should not exceed 5000 words. They will be returned only if accompanied by a self-
addressed, stamped envelop.
Mail to:
CANADIAN FILM STUDIES
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4/Cinema Canada-— March 1983
DEADLINE FOR ALL SUBMISSIONS IS JUNE 30, 1983.
CFDOC no-can-share in LA.
TORONTO — Canadian Film Development Corp. (CFDC) staff members André Lamy, Anne Brown, Bob Linnell, and Karen Lawrence will represent the Canadian industry at the Ame- rican Film Market March 3-11 in Los Angeles.
The CFDC and Film Canada Centre (L.A.) staff will be setting up Offices in suites 604,605, and 606 of the Hyatt On Sunset Hotel in Los Angeles. Stricter rules for this year’s market do not permit the Canadian con- tingent to share the office with non-accredited industry mem- bers, but Brown said the CFDC will take any information on any sector and will distribute it in their suite. They are also
limited to two day-passes per day for visitors to the market, all of which have been issued, according to Brown.
The CFDC will bring cassettes of several Canadian produc- tions and will make them avail- able to convention delegates at their suite. Among the films are Latitude 55, Heartland Reggae, The Deserter, Screw Balls (for- merly Crazy Times), Julie Dar- ling, That’s My Baby !, The Wild Pony, A Twentieth Century Chocolate Cake, and South Pacific 1942. They were also waiting for confirmation on four additional films, The Music of the Spheres, Sciserre, Cross- Country, and For The Rest of Our Lives.
Slan responds to Playboy news
TORONTO — In a footnote to last month’s Playboy program- ming fracas, Superchannel chairman John Slan has reiter- ated that Playboy held discus- sions with both Canadian general-interest pay licensees before signing with First Choice on the purchase of Playboy material, ‘but I never said they came to us first, The Toronto Star did.”
“They came to us,” Slan told Cinema Canada, rejecting Play- boy TV head Paul Klein’s denial
as reported last month, “We asked to see scripts. We were told the scripts were not im- portant. Our philosophy is to have control over our program- ming.”
“We still feel,’ Slan added, “that when the (Playboy) pro- duct is actually seen it won't deliver. Thank God the services are now launched and it is the public that is going to decide. But if we’re wrong and the public flocks to this stuff, we might have to look at it again.”
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Rogers still down
TORONTO — Rogers Cablesys- tems has reported a net loss of $4,251,000 in announcing its 1983 first quarter unaudited results for the three months ending Nov. 30, 1982. The figure
-compares toa net loss of $496,000
over the same period last year.
Rogers has also announced that pursuant to their Share- holders’ Agreement, Rogers Cablesystems and United Ar- tists Communications Inc. of San Francisco will be dividing their interests in Rogers UA Cablesystems Inc. RUAC is the former UA-Columbia Cable- vision, Inc., and is currently 51 percent owned by Rogers and 49 percent owned by United Artists Communications.
Under the shareholders’ agreement signed by the part- ners in 1981, provision was made to divide the assets and liabilities of RUAC under cer- tain circumstances and pro- cedures. The transaction must meet certain regulatory appro- vals before it is final. Both parties do not anticipate any difficulty in obtaining such approvals.
Fed film policy this month
OTTAWA -— Federal film policy should be ready for presenta- tion to Cabinet before the end of March, insiders report. The first priority for the Minister of Communications was to see his Broadcast Policy receive Cabinet’s approval. That came at the end of January, clearing the way for presentation of the film policy.
Staffers at the department of Communications are enthu- siastic about the contents of the film policy, believing that workable solutions to most problems have been found.
Incentives for production, and integration of a strong pro- duction sector with an equally strong distribution sector are the objectives of policy plan- ners. The Distribution Task Force, headed by Ron Cohen, tabled its report several weeks ago, and the solutions proposed are seen as workable. While these solutions ought to “chan- ge the balance” concerning distribution in Canada, they
are also thought to contain “fair’ measures with which the Majors can abide, one staff- er reported.
Obviously, federal observers are watching the Quebec film law hearings anxiously, saying that the goals of the Quebec government “fit nicely’ with the objectives of the federal government. One _ observer commented, “The Québécois may come out a bit bloodied from their confrontation with the Majors, but there are things the federal government can do which a _ provincial govern- ment cannot.” Speculation about the introduction of a bidding system for American films is currently wafting through the Canadian industry.
The DOC is edgey about leaks of its policy. It is known that the Minister hopes to get Cabinet approval for his policy and to speak with the Majors before the details of his policy become public.
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No’83 Cannes pre-selection
OTTAWA — There will be no pre-selection process for Ca- nadian entrants into the com- petition at the Cannes fes- tival this year, reports the Film Festivals Bureau. “There are only five films which might be selected, so we're sending them all on to France where the final decision will be made,” reports Jacqueline Brodie. Those 35mm films are Maria Chapdelaine, The Tin Flute (now retitled For the Rest of Our Days), Rien qu’un jeu, Lucien Brouillard and Sona- tine. Rien and Sonatine, how- ever, may not be completed in time for the festival. (In previous years, a committee made up of
staffers selected six top films, and forwarded them to the selection committee of the Cannes festival.) As in past years, any producer is free to send his own film to the Cannes organizers for consideration. Pierre-Henri Deleau will be in Canada in March toselect films for the Directors’ Fortnight. The Critics’ Week selections (for first features) are made in France in April.
Members of the Festivals Bureau have declined to attend the Cannes festival, in May. The Canadian Film Develop- ment Corp. will represent the Canadian industry, in a delega- tion headed by executive direc-
producers and Festivals Bureau _ tor André Lamy.
Oscar nominees
TORONTO — National Film Board productions After The Axe and If You Love This Planet and CBC Television’s Just An- other Missing Kid earned nominations in the documen- tary categories as the Ameri- can Academy of Motion Picture Arts and Sciences announced the Academy Award nomina- tions Feb. 18 in Los Angeles. After the Axe, a production of the NFB’s Ontario Regional Studio co-produced by Sturla
a(Cinema Canada — March 1983
Gunnarsson and Steve Lucas and directed by Gunnarsson, and Just Another Missing Kid, produced and written by John Zaritsky for the CBC program
“the fifth estate’, were nomi-
nated for best documentary. If You Love This Planet, directed by Terri Nash, was nominated in the short documentary cate- gory.
A fourth Canadian nomina- tion, for best make-up, went to Sarah Monzani and Michele Burke for their work on Quest for Fire, a Canadian-French co-production by International Cinema Corp.
* 100 8x10 Colour Photos
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Canadian content/certification contradictions
OTTAWA ~— Confusion reigns over the Canadian production scene due to the conflicting measures of Canadian content, applied by the department of Communications (DOC) on the one hand, and the Canadian
Radio-Television and _ Tele- communications (CRTC) on the other.
The DOC’s definitions are clearly enunciated, and apply
to films and video for the pur -
poses of being eligible for the capital cost allowance. When that allowance was 100% (prior to Jan. 1, 1983) the definition was critical to many producers. Now that the tax shelter has been reduced to 50% in the first year and 50% in the second, the makers of feature films are seldom able to use the shelter and so, in many instances, don't bother with requesting certifi- cation as a Canadian film. Meanwhile, the importance of a program's being accepted as “Canadian” by the CRTC has increased drastically this year as the pay-TV licensees become an important source of produc- tion funding. But, as Lorne Mahoney of the CRTC explained to Cinema Canada, “The CRTC
ACFC hopes for one autonomous union
TORONTO - The Association of Canadian Film Craftspeople (ACFC) has launched an ag- gressive advertising compaign to give the film union a higher profile with producers both within and outside of the Cana- dian production industry.
Donato Baldassarra, who replaced Suzanne De Poe as ACFC general secretary in No- vember, says the union will spend ten times more on ad- vertising and promotion in 1983 than it spent last year.
Baldassarra plans to go to the American Film Market March 3-11 in Los Angeles to meet with producers and pro- mote his union. “We need to make producers aware we exist. We don’t have an image in L.A.” says Baldassarra. “I think we stand a better chance when we deal directly with the producers.”
Though the AFM this year is limited strictly to film buyers and sellers, Baldassarra hopes to meet with production orga- nizations outside of the actual market activities. “The problem we're (the ACFC) is having is there is no Canadian produc- tion. That’s why we're going to the market,” he says. “We're looking for work : Canadian or American. And American pro- ducers don’t know us.”
As a member of the Federa- tion of Canadian Guilds and Unions in Film and Television, the ACFC has been working to- ward creating one film and television production industry
(cont. on p. 10)
has no clear definition of Cana- dian content. Each production is decided on its own merit.” In principle, decisions are made at the staff level. If a given program is out of the ordinary, or if an applicant makes an appeal, then itis referred to the executive committee, he said.
The CRTC does, however, have a definition of a co-pro- duction which can qualify as Canadian content. “Atleast 50% of the budget must be spent on Canadian elements, unless the co-production is made with a Commonwealth or a Franco- phone country. In the latter cases, only 30% need be spent on Canadian elements. There must also be significant invol- vement of Canadians in the artistic control and among the
principal performers,” Ma- honey explained. Since the co-production
definition is the only concrete definition at the CRTC, its prin- ciples are applied in all cases concerning Canadian content, he concluded.
CRTC chairman John Meisel has announced that the CRTC plans to have defined Canadian content for television by next year, “after consultation with the industry.” Meanwhile, the divergent federal criteria lead to the accreditation by the
CRTC as “Canadian” of many feature films which would have been refused certification by the Canadian Film and Videotape Certification Office of the DOC. Especially suscep- tible to CRTC approval are the American productions which shoot in Canada with Canadian crews, like Skulldugery and Strange Brew, or films with minority Canadian production input like Porky’s — the Next Day.
As defined by the DOC, a Canadian production is one in which the producer, co-pro- ducer, associate producers, executive producers and pre- senters are Canadian (unless prior approval has been re- ; ceived for an exemption) and in which six out of 10 points are earned as follows: director-2, screenwriter-2 (or principal screenwriter working on a work by a Canadian author), highest paid actor or actress-1, second highest paid actor or actress-1, head of art department or de- sign-1, director of photo graphy or head of camera de- partment-1, music composer- 1, picture editor-1. Two of the four points for the director and screenwriter are obligatory, and one of the two points for highest paid actor or actress are obligatory for certification.
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March 1983 - Cinema Canada/?
— . 2 CIN ena ee
No more hybrid, CBC producers want Canadianization of net
TORONTO — A group of Cana- dian Broadcasting Corp. (CBC) television producers, who be- lieve that the CBC “as Canada's instrument of public broad- casting is on the edge of irre- levance,” has made public a report which contains propo- sals for the transformation of the CBC's English language television service.
The report, which has been submitted to both Cabinet and CBC senior management, was prepared by a task force set up by two producers’ organiza- tions, the Association of Tele- vision Producers and Directors (ATPD), which represents To- ronto-based CBC network pro- ducers, and the Canadian Tele- vision Producers and Directors Association (CTPDA), repre- senting CBC regional producers and directors working outside Quebec.
Chairman of the task force is Marvin Terhoch, a TV news and current affairs producer in Winnipeg. Other members in- clude Norman Campbell (TV arts, music and science, Toron- to), Ed Fitzgerald (“The Jour- nal’, Toronto), Anne Frank (TV drama, Toronto), Susan Mitton (TV agriculture and resources, Halifax), and Don S. Williams (TV drama, Vancouver).
The report describes the CBC as “a hybrid, somewhere be- tween a public broadcaster and a commercial broadcaster” and claims the situation has evolved for financial reasons. “The need for commercial revenue and dependence on privately owned affiliates for signal distribution has led to considerable confusion of the corporation’s identity.”
The CBC producers believe
that the Corporation “must abandon American program- ming and devote its entire schedule to meeting the public broadcasting mandate,” It laments that the CBC, as an institution created to achieve specific broadcasting objec- tives and Canadian cultural goals, “has increasingly focused its attention on its capacity to compete for viewers and ad- vertising dollars,” The. producers believe CBC programming should first and foremost reflect “aspects of Canadian life or... aspects of life in other parts of the world as seen from a Canadian per spective.”
The greatest single concern shared by CBC producers, the report says, “is the lack of clear corporate objectives to shape program development and
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