Before Sandra Macdonald stepped into her five-year position as chairperson of the National Film Board and government film commissioner in mid-April, she well understood the future of the public studio is largely uncertain. It doesn’t trouble her.

‘I’ve never been devoted to any status quo, and if there’s a better way of doing things I want to help invent it,’ says Macdonald. ‘I don’t feel threatened. I feel any institution has got to periodically reinvent itself. Sometimes they do it willingly, but more often than not they need a push. I’m looking forward to this.’

In addition to the 5% federal budget cut to the nfb announced in February (and more expected in the years to come), there is the question of what the newly appointed mandate review committee will prescribe for the board. What will Pierre Juneau, Catherine Murray and Peter Hernndorf – who have been selected to evaluate the nfb, Telefilm Canada and the cbc – have to say about the future mandate and resources of the nfb?

Macdonald won’t have a definite answer until the committee files its recommendations in September, but she plans to be very active throughout the process.

As far as building a defense for the nfb, she says the institution’s role as a national icon is not to be sneered at. ‘The board has a role which in a cynical age people may be inclined to discount, but maybe more than is wise. We are a country with very few recognizable icons, and once you get past the Mounties, the film board is one of them.’

Macdonald anticipates the issue of how Canadians relate to institutions and vice versa as key to the committee’s agenda and she is ready to address the long-standing criticism that too much of the board’s output is inaccessible to the public.

‘I certainly think it’s the utmost in indulgence for anybody – agency or private sector – to use the taxpayer’s money to make films if (they) don’t know who the audience is or how to reach them,’ she says.

Macdonald is keen to make sure productions have their outlets in place early on, whether it’s via a broadcast window, a non-theatrical distribution deal or a home-video release.

In addition to these traditional distribution forms, the board is embarking on two new tests through the University of Quebec and McGill University for fiber-optic delivery. The test sites will permit people to hook up with the CineRobotechque in Montreal from distant locations. This is the first step to actual downloading of films themselves, says Macdonald, and it’s a chance to eventually distribute the nfb’s 9,000-title library more efficiently.

‘The nfb has a huge library in areas that are thought to be prime for on-demand delivery, and it owns the rights to its programsÉ.So it gives the board the ability to look at new distribution modes like multimedia and electronic access.’

Also, the board is looking into downloading its catalogue on the Internet with the intention that, within a year, a number of nfb titles would be searchable on a worldwide web site.

This year’s federal cut to the nfb of $4 million has already been accounted for through library closures, administrative costs and early retirement packages (anticipated to be about 10% this year, down from last year’s 13%).

Beyond these measures, there are a few changes to the board’s fiscal strategy, such as an increase in allocations to the Ontario Centre studio.

The Ontario Centre increase is the only direct change to the regional studios, and although Macdonald says it is a small amount, it could be a significant move. ‘It recognizes that Toronto as a region is the largest community of film professionals in the country. It’s a small step at this stage, but I think it signals the fact that there is recognition of the disproportion and we’re thinking about it.’

Macdonald says the nfb plans to continue to work with the independent community as before despite the fact the $5 million, five-year Independent Coproduction Program, which expired a year ago, is not likely to be renewed. It shouldn’t make a difference, Macdonald asserts.

‘Let’s be very clear that the film board is not talking about ceasing to work with outside producers, directors and talent at all. In fact, I’m certain that as long as there is an nfb, the ratio of inside to outside (work) will move toward more of outsiders working with the board as the years go by.’

The pafps program, which grants technical services to new filmmakers on a first-come, first-served basis, could be affected by staff departures if employees from technical services choose to retire. ‘It may mean that technical services will be a bit less accessible simply because that resource is somewhat diminished,’ says Macdonald.

The nfb’s strategy to handle cuts this year is primarily to protect production, although Macdonald warns, ‘that doesn’t speak to the future.’

While word of the mandate review and potential further federal cuts are pending, the board continues to focus on producing documentary and animation, with an emphasis on programs for young audiences (as laid out in last year’s three-year action plan).

‘As I have said to some staff: We have a plan until we have another plan.’ says Macdonald. ‘We can’t operate in a vacuum.’ PC