Cinema Canada (Oct 1973-Jan 1974)

With regard to the latter, Ms. Jaques pointed out that the sample film should support the candidate’s ability to complete the proposed project. In other words, if you’re applying for a way-out, experimental film and submit a stodgy, conventional documentary as an example, the adjudicators will rightly wonder whether you are capable of accomplishing your goal. She also asked that, until formal application forms are available, the applicants use separate sheets of paper for outline, resumé, and budget, including all pertinent information. Furthermore, if you are not good at expressing yourself in writing, she’ll go as far as presenting a videotape to the jury of yourself explaining the film. That way your ideas can get across with more impact. All you have to do is make the tape! These grants will be given out four times a year. You may apply anytime, but completed applications must be received by the four cut-off dates: November Ist for announcement in March (you’ve missed this first one), February Ist, for announcement in June, then May Ist for announcement in September, and August Ist for announcement in December. Correspondence, including general inquiries and grant applications for Film Production and Post-Production Grants, Short Term Grants, Travel and Project Cost Grants, should be addressed to The Canada Council, Arts Division, P.O. Box 1047, Ottawa, Ontario KIP 5V8. Application forms for Arts Grants and Senior Arts Grants may be obtained from the Canada Council, Awards Service at the same address. The future of independent west coast filmmaking discussed at S.F.U. forum Simon Fraser University’s Centre for Communications and the Arts held an important Forum on September 18th at the University’s Theatre on the Burnaby, B.C. campus. The moderator and host was S.F.U. Resident in Film, Vincent Vaitiekunas. . The topic under discussion was ““The Future of the Independent West Coast Filmmaker,’ and the panel included four of them, Zale Dalen, Richard Patton, Peter Bryant, and Bix Milanich. Also on the panel were Penni Jaques of the Canada Council and Michael Spencer of the Canadian Film Development Corporation, who flew in especially for the evening, as well as Werner Aellen of Image Flow Centre, Les Wedman of the Vancouver Sun, Michael Walsh of the Province, and Kirk Tougas, director of the Pacific Cinemathéque. According to our West Coast correspondent, the centre of attraction was the Canada Council, since the audience was more interested in finding out about grants than in discussing any directions for independent filmmaking in the west. Ms. Jaques then presented her ideas and the new Council policy regarding film grants. At the outset of the meeting Michael Spencer pointed out that the CFDC will be concentrating entirely on larger budget, more commercial ventures and that the preserve of independent films was now solely the Canada Council’s. In conjunction with the forum, several west coast independent films were screened, three of them produced still with CFDC grants, no longer available. The fine examples of B.C. creativity were Rocco Brothers, Morning Line, Gandy Dancer, Baby Ducks, Green Alder, Dancers, Mutations, and Funeral Ships. In addition to the four filmmakers on the panel, who directed most of the above, Bryan Small made “Dancers” and co-directed “Baby Ducks” with Peter Bryant. Bryant, who is certainly one of the film artists dill: Ganadian danswcring SElwES ‘THE FILM ARTISTS “EXCHANGE” A NEW CONCEPT FAST, RELIABLE, SLICK Inquire about our special discount rates to freelancing George Csaba Koller most prolific Vancouver filmmakers as well as our correspondent, summed up the evening in his report: “Outside of a few filmmakers themselves, none of the aspirants in the audience was willing to discuss other ways of making films. Unfortunately it appears that the emphasis for independent filmmaking here is on government subsidy. Although the Canada Council will be assisting them more than ever, the future of west coast filmmakers shouldn’t really depend on the size and number of grants available, but the willingness and creative drive of the filmmakers themselves.” Pacific Film Co-op is formed At press time, news came in from Vancouver that 20 independent filmmakers there have formed the Pacific Film Co-operative. Set up along the lines of the Montreal production co-op (ACPAV), the new organization has strict entrance requirements: a $25 fee, plus proof that applicant has worked on at least 3 films or made 1 film by him/herself. Also at the last minute came confirmation from the CFDC that not only Peter Bryant’s The Supreme Kid, but also Leonard Yakir’s The Mourners (from Winnipeg) has gotten a conditional go-ahead in the low-budget program, which now requires applicant to submit a short dramatic film that shows his skills with actors. The budget has gone up too (see next item). Out of 110 projects submitted so far, only 10 have gone ahead. Since it deems poor scriptwriting the major cause of high rejection-rate, CFDC is now giving limited funds for professional re-writes (4 or 5 so far). Next deadline: December 7th! ih i \ i ‘ Aa Cinema Canada 7