Cinema Canada (Feb 1977)

are not aware of the creation of the Institute. Gulkin, the new president, is optimistic about the Institute and hopes that observers will judge it according to its projects and activities, rather than to stop at an analysis of its origins. Millard Roth, executive director of the CMPDA who served as chairman and _ secretary for the first two meetings, is not expected to maintain this role in the future. Other officers elected are Vice-President Hector Ross, Secretary Daniel Weinzweig and Treasurer Michael Stevenson. During the formative period, the Institute will use the offices of Danton Films in Toronto. Connie Tadros APFQ-Unions Settle After nine months of conflict and negotiations, the producers and the technicians of Quebec have come to a_ negotiated agreement. On Dec. 29, the Association des producteurs de films du Québec signed two collective agreements, one with the Syndicat national du cinéma and one with the Association des professionnels du cinéma du Québec. These agreements define for the first time mutually acceptable work conditions, and minimum salary scales. They also establish a classification system for technicians and conditions for promotion from one stage to another. The right to strike or lockout is relinquished, and the associations signing the agreement recognize each other as the sole negotiating partner. Furthermore, the technicians relinquish the right to work for any producer who does not endorse the agreement. Tied into the agreement is a mandatory contribution from the technician’s salary to the union of 1%, and a mandatory contribution, both by the technician and by the producer, of 2° into a union pension fund. Furthermore, as the producer signs the Aimée Danis, president of the APFQ, on location declaration which obliges him to observe the terms of the agreement, he agrees to contribute a sum equal to 1% of the salaries paid directly to the APFQ. These agreements mark the maturation of the Quebec industry. Although special clauses are tailored to the needs of documentaries and educational films, it will be more difficult (if not impossible) to produce these films in the informal and oft-times improvised spirit of the past. The new conditions may prove difficult for the economically marginal producer but will not have much effect on the majority of producers, most of whom had usually signed individual agreements with the unions before shooting. The associations involved in the negotiations will be stronger in the future, due to the direct financial contributions required. The contributions to the APFQ are earmarked for future negotiations and for other costs, incurred because of the collective agreements. The present agreement is valid until Dec. 31, 1978. Connie Tadros Shooting: Co-productions rine Racet Fra Very few home-made Canadian films are in the works — a summary follows but it’s apparent that government favors and influence are in foreign coproductions. The CFDC, hardpressed to return some income on its investment while the government studies renewing its charter, has grasped the outstretched hands of foreign partners in earnest — it looks like 1969 all over again. Except that now there is a little more sophistication, better tax breaks for investors, and less opportunity for Canadian writers and directors to find work and Canadian stars to be made than in 1969. Producers, labs, some members of crews, and some technicians will have work, though; a situation which, in government eyes, is better than no ‘work for all. Some current pro jects: Full Circle A co-production between Classic Film Industries of Montreal and Fetter Productions of Britain, this thriller stars Mia Farrow, Keir Dullea, Tom Conti and Jill Bennett. Director is Richard Loncraine, producers are Peter Fetterman and Alfred Pariser, executive producer is Julian Melzack, and the screenplay is by Dave Humphries from an adaptation by Harry Bromley Davenport of the novel Julia by Peter Straub. Principal filming has been completed in London. The Disappearance Another Canada-UK co-production, produced by David Hemmings and Gerry Arbeid (executive producers, Garth Drabinsky and James Mitchell), directed by Stuart Cooper, written by Paul Mayersberg from the novel Echoes of Celandine by Derek Marlowe, with Donald Sutherland as star, John Alcott as DOP, and Anne Pritchard as art director. Principal photography was recently completed in Montreal. King Solomon’s Treasure Based on Rider Haggard’s novel Allan Quartermain, this feature is currently shooting in Swaziland (that’s in Africa, not Alberta, gentle reader). It’s about the search for a lost city, and stars David McCallum, Terry-Thomas, John Colicos, Trevor Howard, Yvon Dufour, Véronique, and Ken Gampu. Executive producer is Harry Allan Towers, producers are Alvin Rakoff (who also directs), Susan Lewis and Canafox Films of Montreal. Richard Hellman of Canafox and Prospec Films is readying several other co-productions, including a tentative six-picture deal with Carlo Ponti. Titles include The Wolves, The Jumbo Murders, a remake of Captains Courageous, and possibly one called The St. Petersburg-Cannes Express. Latter has also been ascribed to Twentieth Century-Fox and Swiss interests. Stephen Chesley February 1977/9