He put it off for a long time, but six months ago Toronto-based director Eugene Beck signed with Creative Film Management in New York.

Canadian production companies have successfully represented him on both sides of the border for years, and he’s happily part of L.T.B. Productions’ stable in Canada. But over the last four years, about 95% of his work has come from the u.s., and now it only makes sense to have a production house presence down there, says Beck. Maybe the odd director can make it working in Canada alone, he says, but for the majority, ‘it’s become increasingly difficult.’

The Canadian commercial production market today is nothing like it was five years ago. A freer trading mentality helped open the floodgates to new American competition, as well as a prolonged recession that made once heavily booked American talent suddenly available for Canadian work. It all added up to fewer Canadian directors directing Canadian projects, says Beck.

‘I’m fortunate because I’ve had steady work. But it’s not the same for everyone – the competition is brutal out there. You’re not only competing with your peers here, you’re competing with the rest of the world.’

Born and raised in Connecticut, Beck’s been a landed immigrant for 22 years. In retrospect, he says it’s been a wonderful country to work in. ‘But I’m not sure that’s true anymore.’

According to Beck, Canadian directors are definitely not getting the support they need from the advertising agencies. There is a sort of ‘stargazing’ mentality feeding the perception that u.s. directors offer something different and more exciting than their Canadian counterparts. ‘It’s human nature to think that things you’re less familiar with are better. Once you know something, it’s already lost its mystery.’

There’s no question that there are some exceptionally talented foreign directors. But in an industry where image is everything, some jobs are going to American directors because they’re American. The end result is that Canadians aren’t even in the running to direct high-end productions, says Beck.

‘It’s been rumored in the industry that for a job over $100,000, agency producers don’t even consider Canadian directors. I’ve heard it said many ways that imported directors are going to get first crack at the big budget jobs.’

The thrill of having an infinite body of directors to choose from may be wearing off. The playing field may be leveling out to give Canadian directors a chance in their own country, says Beck. He has heard recently of some clients asking specifically for a Canadian director on their projects, although not many.

But you can’t rely on the clients to call the shots. It’s the writers, art directors and producers at the agencies that either cast their votes behind Canadian directors or look elsewhere, says Beck.

‘Sometimes the client makes the call, but always the creative team makes the recommendations, and they will ultimately decide the fate of the directors industry here in Canada.’

And if it’s happening that Canadian directors have to make a name for themselves by working in the States, they’re simply joining the large body of Canadian artists that have left the country to become successful, says Beck.

‘Traditionally, what’s homegrown is undervalued. It’s not just Canadian directors that gain their recognition elsewhere.’