Cinema Canada (Mar 1983)

a | a No’83 Cannes pre-selection OTTAWA — There will be no pre-selection process for Canadian entrants into the competition at the Cannes festival this year, reports the Film Festivals Bureau. “There are only five films which might be selected, so we're sending them all on to France where the final decision will be made,” reports Jacqueline Brodie. Those 35mm films are Maria Chapdelaine, The Tin Flute (now retitled For the Rest of Our Days), Rien qu’un jeu, Lucien Brouillard and Sonatine. Rien and Sonatine, however, may not be completed in time for the festival. (In previous years, a committee made up of staffers selected six top films, and forwarded them to the selection committee of the Cannes festival.) As in past years, any producer is free to send his own film to the Cannes organizers for consideration. Pierre-Henri Deleau will be in Canada in March toselect films for the Directors’ Fortnight. The Critics’ Week selections (for first features) are made in France in April. Members of the Festivals Bureau have declined to attend the Cannes festival, in May. The Canadian Film Development Corp. will represent the Canadian industry, in a delegation headed by executive direc producers and Festivals Bureau _ tor André Lamy. Oscar nominees TORONTO — National Film Board productions After The Axe and If You Love This Planet and CBC Television’s Just Another Missing Kid earned nominations in the documentary categories as the American Academy of Motion Picture Arts and Sciences announced the Academy Award nominations Feb. 18 in Los Angeles. After the Axe, a production of the NFB’s Ontario Regional Studio co-produced by Sturla a(Cinema Canada — March 1983 Gunnarsson and Steve Lucas and directed by Gunnarsson, and Just Another Missing Kid, produced and written by John Zaritsky for the CBC program “the fifth estate’, were nomi nated for best documentary. If You Love This Planet, directed by Terri Nash, was nominated in the short documentary category. A fourth Canadian nomination, for best make-up, went to Sarah Monzani and Michele Burke for their work on Quest for Fire, a Canadian-French co-production by International Cinema Corp. * 100 8x10 Colour Photos OC Ea. 8x 10 b/w!Photos Canadian content/certification contradictions OTTAWA ~— Confusion reigns over the Canadian production scene due to the conflicting measures of Canadian content, applied by the department of Communications (DOC) on the one hand, and the Canadian Radio-Television and _ Telecommunications (CRTC) on the other. The DOC’s definitions are clearly enunciated, and apply to films and video for the pur poses of being eligible for the capital cost allowance. When that allowance was 100% (prior to Jan. 1, 1983) the definition was critical to many producers. Now that the tax shelter has been reduced to 50% in the first year and 50% in the second, the makers of feature films are seldom able to use the shelter and so, in many instances, don't bother with requesting certification as a Canadian film. Meanwhile, the importance of a program's being accepted as “Canadian” by the CRTC has increased drastically this year as the pay-TV licensees become an important source of production funding. But, as Lorne Mahoney of the CRTC explained to Cinema Canada, “The CRTC ACFC hopes for one autonomous union TORONTO The Association of Canadian Film Craftspeople (ACFC) has launched an aggressive advertising compaign to give the film union a higher profile with producers both within and outside of the Canadian production industry. Donato Baldassarra, who replaced Suzanne De Poe as ACFC general secretary in November, says the union will spend ten times more on advertising and promotion in 1983 than it spent last year. Baldassarra plans to go to the American Film Market March 3-11 in Los Angeles to meet with producers and promote his union. “We need to make producers aware we exist. We don’t have an image in L.A.” says Baldassarra. “I think we stand a better chance when we deal directly with the producers.” Though the AFM this year is limited strictly to film buyers and sellers, Baldassarra hopes to meet with production organizations outside of the actual market activities. “The problem we're (the ACFC) is having is there is no Canadian production. That’s why we're going to the market,” he says. “We're looking for work : Canadian or American. And American producers don’t know us.” As a member of the Federation of Canadian Guilds and Unions in Film and Television, the ACFC has been working toward creating one film and television production industry (cont. on p. 10) has no clear definition of Canadian content. Each production is decided on its own merit.” In principle, decisions are made at the staff level. If a given program is out of the ordinary, or if an applicant makes an appeal, then itis referred to the executive committee, he said. The CRTC does, however, have a definition of a co-production which can qualify as Canadian content. “Atleast 50% of the budget must be spent on Canadian elements, unless the co-production is made with a Commonwealth or a Francophone country. In the latter cases, only 30% need be spent on Canadian elements. There must also be significant involvement of Canadians in the artistic control and among the principal performers,” Mahoney explained. Since the co-production definition is the only concrete definition at the CRTC, its principles are applied in all cases concerning Canadian content, he concluded. CRTC chairman John Meisel has announced that the CRTC plans to have defined Canadian content for television by next year, “after consultation with the industry.” Meanwhile, the divergent federal criteria lead to the accreditation by the CRTC as “Canadian” of many feature films which would have been refused certification by the Canadian Film and Videotape Certification Office of the DOC. Especially susceptible to CRTC approval are the American productions which shoot in Canada with Canadian crews, like Skulldugery and Strange Brew, or films with minority Canadian production input like Porky’s — the Next Day. As defined by the DOC, a Canadian production is one in which the producer, co-producer, associate producers, executive producers and presenters are Canadian (unless prior approval has been re; ceived for an exemption) and in which six out of 10 points are earned as follows: director-2, screenwriter-2 (or principal screenwriter working on a work by a Canadian author), highest paid actor or actress-1, second highest paid actor or actress-1, head of art department or design-1, director of photo graphy or head of camera department-1, music composer1, picture editor-1. Two of the four points for the director and screenwriter are obligatory, and one of the two points for highest paid actor or actress are obligatory for certification. 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