Cinema Canada (Feb 1982)

CAMPP takes exception On Page 25 of issue No. 80 of Cinema Canada, you credit the Canadian Association of Motion Picture Producers, along with the distributors and the CFDC with the disbanding of the Canadian Film Awards Committee and the formation of the Academy of Canadian Cinema. The decision to restructure the annual awards was as much the decision of the other C.F.A. members as it was that of the three groups named. The CAMPP members may have speeded up the decision by their joint refusal to submit their films to the existing awards format, but all agreed that the system needed revision. : While it is true that promotion has an effect on the number of Academy members attending a screening ofva film in competition, that by itself won't ensure victory, But it does encourage members of the industry to view each others work and to discover the hidden talents on display that previously were only seen by the international jury. The glitter has also ensured the television coverage that in time will be seen as having been a key element in Canadian acceptance of Canadian films as entertainment not just culture for the few. With respect to the disbanding of the CFDC advisory board, I must again challenge your, presentation. The CFDC meets with many groups including our Association. What seems to have changed is that these meetings are no longer the mass forums for groups to challenge another's right to be present and no longer are they simply meetings with Elected or paid officials of a specific organisation, A recent meeting attended by two CAMPP officers had representatives from writing, performing and TV production segments discussing an area of concern to the CFDC. But producers are a key to the development of the industry and must be permitted to aid in the restructuring from the very begining. Again there is an implication that Canadian Culture will suffer as a result. Both CAMPP and the CFDC are just as concerned about Canadian films as we were before the boom. We have a history of working with many groups to maintain Canadian integrity and, particularly, to limit the use of Canadian financing by non-resident producers that cannot know and usually haven't the time to discover the wonderful creative talent that Canadian producers have grown up with. There will always be an individual or two in an elected or appointed position that appears not to share the same goals as the readers for whom you speak. Indeed they often find themselves at odds with their own organisations. It is therefore a little unfair to condemn the entire organisation for a policy that may have been abandoned with the departure of the individual. Any country whose cost of production is the same as Canada’s while its population is 1/10th that of the United States, is going to have difficulty identifying and supporting indigenous production. Canadians must either pay ten times the price to view or cut their budgets by 90% to compete fairly with invading cultures. Lets hope that solutions will present 6/Cinema Canada February 1982 themselves during 1982 and that we will all be smart enough to recoghise them for what they are. Samuel Jephcott Canadian Association of Motion Picture Producers To set the record straight: © Once upona time, the Canadian Film Awards held its competitive screenings at the St. Lawrence Centre in Toronto. Entry was free, so interested industry members as well as the public and the international jury could see the films. Plans were in the making to circulate the winning films to the major cities in Canada. © Television coverage of the Awards began two years before the Academy was founded. © Under the presidency of David Perlmutter, CAMPP wrote a letter to the CFDC, withdrawing from membership in the advisory committee. This letter heralded the eventual dissolution of that committee as a formal entity. Ed. Make no mistake | I'm disturbed by the similarity between the name Zale Daniel and my own name, Zale Dalen. The opinion Mr. Daniel expressed in “Letters” of issue number79 could not be further from my own. As the director of The Hounds of Notre Dame, I worked with Tom Peacock for six weeks of shooting, under conditions which ranged from uncomfortable to excruciating. Anybody who thinks Tom isn’t an actor simply doesn’t know what he’s talking about. Tom is not a “school teacher”. He’s a resident in the drama department of the University of Alberta with a full schedule on the legitimate stage. And if he was a school teacher, so what? How many “professional” actors drive cabs or wait tables between gigs? Ninety percent ? Ninety-nine percent? Does that define them as waiters or cab drivers, thus making them ineligible for awards ? It seems to me that Mr. Daniel’s real complaint is that Tom Peacock has managed to find a bit of stability and financial security in his profession. Yes, and glory and respect as well. It seems to me that his letter was motivated by petty jealousy. Perhaps I should change my name. Zalé R. Dalen @ Great asset Congratulations on your superb publication ! | We have found that Cinema Canadais a tremendous asset in our advertising programme and that the resulting number of inquiries have enabled our offices to continue working effectively for Canadian film. Your staff have been most helpful and have made the preparation of information quite easy... we do appreciate their professional manner. Best wishes for your continued success, ; Linda Mote @ Canadian Film Casting Services «CONTENTS No. 81 — February 1982 Cover : Rita (Margot Kidder) takes a moment out, reflecting on life’s heartaches and her own next move. For an interview with the director of Heartaches, Don Shebib, see pages 18-21. Producer David Patterson shares a few thoughts on pages 21 and 30. Photo: Robert McEwan. CineMag Trade! News 5-75.55 9 ora 8 eer ea kh nly pa aaa Ally ye none Oa 3 National Pay-TV proposals .......... TehGd RAE ee ee eee 10 Features: produced! in 198 iss, veneer tea es como ns op eyy alae wed ei Oe ee 17 ShoowAlbertay by Linda: Kupecek 4 vvrusy ve on de vite be oe $i, aie Wad g we eT Aulantic Echoes, by Mike Riggio yess avos 24 tiie yo bate, ORIN vee sxe pee 36 Produchon:: guide'41's% Peake hes teen ae Cv iy teal es mew Shien ae eee ere 34 BOX: OffiCe: BLOSSES* 4 is, petteas See Whe b wdiew ns ve. CON ped E neti oy pO 38 Experimental filmmaker Chris Gallagher gives us his vision: “Seeing in the Rain" Features . Shebib exposes himself: an interview, by Bruce Pittman .................. 18 Business as (un)usual, by Seth Feldman ............... ec hepa a oe yee 22 Lament for an industry, by Virginia Kelly ..........0c..cccccccccccccsccess 24 In progress “Mother Lode” : All in the family, by Elizabeth Emtage ................... 31 “Videodrome” : Insidious effects of high tech, by John P. McKinnon ....... 32 “Poetry in Motion”; In pursuit of the Muse,.by Camelia Frieberg .......... 33 “Freeloading’ : Shooting on a shoestring, by Patricia Michael .............: 33 Film Reviews Allan Winton King’s “Silence of the North”, by Jane Dick .................. 28 Short Film Reviews Eric Saretzky’s “A Private World”, by Paula Citron ........................ 29 Robert Sherrin’s “A Matter of Time’, by Edward McGee ................... 29 c A ~@-“* D A Publisher: Jean-Pierre Tadros. Rditors: Connie Tadros, Jean-Pierre Tadros. Associate Editor: Teri Coburn. General Manager: Del Mehes (Toronto). Staff reporter: Bruce Malloch. Researcher: Yves Gagnon. Columnists: Les Wedman, Linda Kupecek, Mike Riggio, George L. George. Design: Merv Walker. Typesetting: Concept Médiatexte Inc. Subscription: Dianne Persson. Advertising Manager: André Lauzon. Subscription information : One year (12 issues) : individuals $18. Companies and institutions $24. Add $5 postage for USA and overseas. Two years (24 issues): Individuals $34. Companies and institutions $40, Add $10 postage for USA and overseas. First class (one year, 12 issues): Individuals $30. Companies and institutions $36. Overseas : individuals $38. Companies and " institutions $44. Requests for replacement of missing issues will be honored for three months after the due date of the issue. Subscriptions will not be refunded. Cinema Canada, founded by the Canadian Society of Cinematographers, is published by the Cinema Canada Magazine Foundation. 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