Cinema Canada (Apr-May 1978)

photo: Lois Seig Claude Chamberland who be bec filmmakers in 1969 wanted only Quebec films in the Co-op. I said ‘over my dead body’ — we are working on the principle that we must be of help to any independent filmmaker, no matter what country he comes from.” ed enough to make it happen. | Money has always been one of the major problems in running the Co-op. “From 1974 to 1977 we didn’t receive one penny. Only this year did we finally get a grant from L’'Institut Québecois du Cinéma and la Direction Générale du Cinéma et de l’Audio-visuel, which is part of the Ministry of Communications of Quebec.” | “Federal money was always a problem. The Co-op had financial difficulties because we always received one-fifth of what our budget requested from The Canada Council. But we survived. We always hoped for some flexibility towards our financial situation, but Penni Jaques and Frangoyse Picard decided to cut us off completely. We didn’t quite understand why they did this. We couldn’t provide an audited financial statement because we couldn’t afford a bookkeeper and accountant. The money we would have paid those people represented half the money we were getting from The Canada Council, which is ridiculous.” “It was a neurotic situation — after all we’d done, festivals, distribution, promotion, presentations and tours. We were the only group who had permanency in the showing of independent films.” “In July, Francoyse Picard told me that before we could get a grant we had to prove ourselves worthy during the next 6 months. I saw her last week (February 21) and she said, ‘It’s not 6 months, it’s one year.’ She knew about the Paralléle. She had received an invitation to the opening. So, I guess we’ll let it cool off for the time being.” “We’ve been working on a new catalogue for a year now — off and on because of money problems.” But what benefits go to the independent filmmaker who shows his work at the Paralléle? “As opposed to the Cinémathéque Québecoise, which does not pay filmmakers, we give $100 per program. If a filmmaker shows his 30-minute film, he gets $30. The Cinémathéque in Belgium pays filmmakers. Independent filmmakers need money to make films and to live. We are paying, and the Cinémathéque isn’t, although they have a bigger budget. They should have more consideration.” “If an independent filmmaker manages to have his films shown as a short before a feature, say with Famous Players, 18/Cinema Canada he may only get $110 for a 30-minute film, and the film might be projected 70 times.” It is interesting to note that in the United States a new program has been instituted to show short films by independent filmmakers in commercial movie theatres throughout the nation. "Inder the auspices of Media Arts, National Endowment for the Arts. “Short Film Showcasing” intends to introduce the public to the development and innovation that has occurred in film. Warner Bros. and United Artists act as distributors of the under-10-minute films. Each filmmaker receives a $3,000 honorarium for non-exclusive use of his film. The Endowment fund pays for the blow-up from 16 to 35mm. This year, The Cinéma Paralléle will host the 7th Montreal International Festival of Cinema in 16mm simultaneously with The Museum of Fine Arts, April 26-30. The first festival was supported entirely by Dimitri, and then the Co-op received money from the Festivals Office, Secretary of State, in Ottawa. “But it was the office’s wish to have a commercial festival to build the film industry — with big receptions like at Cannes. Everyone was looking for glamor and prestige.” Claude and Dimitri’s idea was completely the opposite, and not competitive by any means. “We wanted a showplace for independent films not usually projected on the commercial circuit.” When other festivals were introduced, the independents were tossed aside. ‘““You’re not industry oriented. We can’t provide the money,” they were told. The financial sources for this year’s festival are la Direction Générale du Cinéma and The National Film Board. “These people are helping, but we have to make them understand that a festival such as ours is working in an aura of communication — a festival as a living experience.” And the future: “We intend to institute a production Coop. We will provide equipment and a permanent technician to demonstrate every phase of filmmaking. Also, we will invite filmmakers from all over the world to the Paralléle. Taktiko limura, the Japanese filmmaker, will be here in April. | Claude’s new dream: to keep The Cinéma Paralléle open 24 hours a day. Oo The theatre. photo: Lois Seigel