Cinema Canada (Apr-May 1974)

and their suggestions of how best the Union may perform its function to their benefit. A committee will be formed to peruse these proposals and to hold meetings to discuss the best means of implementing these suggestions. The IA. intends to further make known its willingness to vigorously pursue any reasonable course in accommodating these new candidates, and by initiating such steps, it is hoped to enlarge the sphere of Trade Unionism, for the benefit of not only the supporting craftsmen and women engaged in the Industry, but also the Industry itself. We avail ourselves of this opportunity to convey our thanks to the InterUnion Committee and the Executive of the CCFM for their efforts in making possible the level of our present understanding of this new and burgeoning facet of the Toronto Film Industry, and we look forward to a _ continuing rapport. We remain Yours very truly, W.J. Wood, President, Local 873, IATSE Per G.A. Ferrier, Bus. Rep. Local 644C, IATSE CRTC Hearings on the CBC The Canadian Radio-Television Commission held a five-day hearing in Ottawa in February on the subject of the renewal of the various licenses under which the Canadian Broadcasting Corporation operates. The Council of Canadian Filmmakers submitted a brief to the CRTC condemning the CBC English television network’s lack of use of independent Canadian filmmakers, and requested that it be allowed to appear at the hearing. Much to the amazement of the men who run both the CBC and the CRTC, over 300 briefs were presented regarding one aspect or another of Canada’s public network. None argued that Canada did not need a public network. Most dealt with the English television system and most of those said it could be much better. Twenty-nine interventions were selected by the CRTC from the 304 filed for oral presentation at the hearing, including the CCFM. The Council paid for the transportation of the members of its executive committee to Ottawa from a Canada Council grant. We gathered at the Talisman Motel in Room 274 overlooking the snowfilled Japanese garden. The Talisman manages to be a run-down luxury motel. Aside from the CRTC hearings, there were other groups such as the Rotarians meeting in its numerous halls. One of the women who works in the kitchen said she was told to be careful that week because a lot of VIP’s would be around. Every week must be VIP week at the Talisman. The Commission was very patient with those giving oral presentations. CBC president Laurent Picard spoke for an entire morning, explaining with graphs how much everybody likes the CBC and how little money they have. This was followed by spirited questioning about such matters as American content in the prime time schedule. As the week progressed, the CRTC began to schedule evening hearings to handle the rush, ignoring its printed agenda. This led to the CCFM being heard in an unannounced spot at the tail-end of Wednesday afternoon, an apparently disadvantageous position. At the first table sat chairman Peter Pearson, Kirwan Cox, Bill Fruet, Richard Leiterman and Robin Spry. Behind them were Budge Crawley, Martin Defalco, Sandra Gathercole, Agi Ibranyi-Kiss, Ken Post, Peter Bryant from Vancouver, Marie Waisberg — executive secretary of the CCFM, and Jack Gray. Peter Pearson made an opening statement that was a classic in grabby simplicity and mathematical inaccuracy. He told the CRTC that the CCFM had only one demand, “. . . that the CBC increase its programming of Canadian feature films by 1,000%’’. At this point there was a noticeable sigh from the Commission’s table and Chairman Pierre Juneau leaned back in his seat as if involved with the crazies of this hearing. Pearson went on to say that this increase **.. would raise the number of Canadian feature films broadcast by the CBC to 1% of the total.” Another sigh from Juneau and arched eyebrows from the Commission’s Vice-Chairman, Harry Boyle. Pearson continued by pointing out that the CFDC has invested in 101 completed feature films over the last five years and only 2 of these have been screened by the English network. He said that CBLT in Toronto has broadcast nearly 2,500 features in the last five years and the CCFM would like to see at least forty Canadian feature films shown UIMI] PW The CCFM members presenting the brief to the CRTC in the next five. Pearson finished with the understatement: “This is not an unreasonable demand.” Juneau seemed to be beside himself. He asked, ‘“Why?”. Crawley said it was a matter of salesmanship. Juneau then put forth our case — getting Canadian films onto the public network should not require superhuman efforts of salesmanship. Harry Boyle asked if it could be money, “Do Canadian filmmakers ask for too much?”. Sandra Gathercole pointed out that CBC did not even bother to bid for Slipstream — so it couldn’t simply be money. The Commission simply could not believe what it was hearing and asked again, “Why?”. Kirwan Cox said we were dealing with two issues — participating in the financing of Canadian films by buying television rights like Global did with Duddy Kravitz, and buying the films after they are finished. The CBC has really done neither and the only reason must be that the executives like Thom Benson don’t believe our films are any good or that they have a responsibility to show them to the Canadian people. By this time, the members of the Commission were visibly angry and Juneau broke off the questions with the simple statement, “This is scandalous. I’m too depressed to hear any more.” Whereupon everyone went to a late dinner. Any analysis of the impact of the CCFM would have to be that it was one of the most effective representations at the Hearings. We had a simple problem that was able to use the CBC tactic of statistics against the Corporation. They couldn’t argue around the fact that they weren’t buying independent Canadian films no matter what the reason. We will not know the result of these hearings until the CRTC grants the licence renewals to the CBC. The Commissioners cannot refuse these licences, but they can attach to the licences certain conditions, or they can issue a statement to accompany the licence renewals that outlines directions in which they feel the CBC should be moving. This will not happen until the end of Marche Cinema Canada 65 ULM] YEW