No longer bystanders at an American syndication circus, the Canadian tv industry has hopped into the hubbub of the natpe ring, confirming the market is a crucial stage for launching new product, seeking coventures and presales with u.s. network and cable majors, and deal-making with the increasing numbers of international players.

‘The word is spreading that there is creativity and an openness to new business ventures here,’ says Telefilm Canada promotion officer Michelle Bischoff.

The 80 Canadian exhibitors who flocked to New Orleans Jan. 13-16, up from last year’s 70, saw an increased volume of business come their way, she says, as they huddled in heavy deal-making with American broadcasters and cable specialties and international attendees, particularly from Latin America and Europe.

Bischoff estimates total participation nearing the 20,000 mark, up from last year’s 18,000, with 15% of this accounting for a stepped-up international presence, particularly among British, French, Italian, Latin American and Asian companies.

The expansion of new cable and satellite outlets on the international front, says Stephen Ellis, president of Ellis Enterprises, is generating high levels of competition, driving up acquisition rates at the new channels and higher presale figures at more mature outlets.

Joy Rosen, president at Portfolio Entertainment, has observed a similar trend, but notes this is the case only when new outlets are vying for the same ‘a-group’ or high-production value programming and a bidding war is generated among the new outlets.

She says this is happening often in the kids’ market where all the new players are after the same key shows. Product lower on their shopping list is going for the typical lower fees at the new stations. But, if you have high-profile programs, she says, as was the case with their award-winning Groundling Marsh, this trend is spelling good news for Canadians seeking deals in the expanding marketplace.

Animation companies found the children’s market starved for programming.

Cinar Films vp distribution and marketing Louis Fournier found Discovery delving deeper into kids’ tv, Latin American buyers eager for shows for the expanding satellite front, and international cable networks pitching copros to Canadians.

Billing natpe as an ‘anchor into the new year,’ Fournier says he ‘found the ingredients needed to put together the financing’ for The Adventures of Paddington Bear series, with interest from France, Germany and the u.k., and discussions underway with Americans networks and cablecos.

Fournier says broadcasters are hungry for shows targeting the ‘tough-to-program’ eight-to-12 market, and Cinar’s pitch for In The Steps Of Robert Ripley Believe It Or Not, a combined live-action/animation series, picked up strong response all over the map and ‘it’s definitely a project for ’98.’

Sheldon Wiseman, president of Ottawa’s Lacewood Productions came away with European copartners for three separate animated, 26 half-hour series, which represent production budgets of $11 million each.

Discovery Channel and video companies were actively shopping kids product this market, and u.k., France and Germany remain strong buyers, confirms Nelvana’s chairman Michael Hirsh.

‘The Disney Channel is back in the market as a great coproducer and we have a strong relationship with Nickelodeon,’ he says, noting Nelvana’s key animated projects – Sam and Max, Franklin, Ned’s Newt, Donkey Kong Country and Blazing Dragons – generated high levels of activity.

Funbag Animation co-owner Rick Morrison has returned from New Orleans a bit less optimistic about the u.s. animation front. He says with networks and cable outlets owning their own production companies, cracking the American market is tough, particularly if you are looking for presales.

‘They are filling their slots with all of their own propertiesand if they buy other properties they want to own it outright and take advantage of all the ancillary rights.’

As well, he found syndicators selling only blocks of cartoons because individual properties aren’t garnering advertising dollars unless a major toy licence is behind them.

Still, Funbag’s series in development – King Weirdo and Sergeant Balls of the Arctic – generated talks with Nickelodeon.

International reps wanted to ink deals on the spot after viewing a three-minute promo for Guardians 4 Good Sense, a 26 half-hour series from Vancouver’s Delaney & Friends Productions and Good Sense Productions in the u.s.

‘We had 14 or 15 offers from a dozen countries, including major broadcasters in Italy, Germany and France, and serious talks with syndicators and American networks,’ says Good Sense executive producer Tony Asfur.

Cambium Releasing has distribution rights on the project as well as on Nilus The Sandman. Senior vp Rita Carbone Fleury is following up on a natpe meeting with a u.s. network affiliate for the series and a deal is in progress with a Latin American and Australian satellite company.

Key Catalyst property Red Raven, an animated copro series with Phoenix Animation, literally danced its way to natpe, with a launch press conference involving Cree ceremonial dancers creating the stir it was intended to.

ceo Charles Falzon says ‘discussions have moved forward’ towards a u.s. presale, and negotiations are underway with Discovery Channel, syndicators, cablecos and toy companies. Formal copro offers came from a French and a German buyer, but Falzon says he’s going to the u.s. networks in the coming months, wanting to generate as much hype over the property as possible before he signs any deals.

Other Catalyst sales include 12 one-hours (currently in production) of Bedtime Primetime Classics to Italy’s pay-tv service Telepieu and France’s Canal J.

Telescene can attest to busy Canadian front lines on the drama scene, arriving home with a codevelopment deal in the works with ctv on the miniseries Fist of God (finalized with Turner in December) and a verbal agreement from BSkyB on the Jack Higgins mows and sales of the series to Asian countries and major French and Italian network broadcasters.

Sci-fi series Star Wolf got the go-ahead from the USA Network, but no Canadian window as yet. Student Bodies cleared first-run syndication with Fox Television Group, with 90% clearance expected on the new sitcom by its September airdate.

The Hunger generated buzz among American syndicators and cablecos for second-window broadcast after Showtime, and the u.k.’s BSkyB is close to signing on, says exec vp Paul Painter. The series, executive produced by Ridley and Tony Scott, also captured the attention of major feature film directors – ‘huge, big names,’ who want to develop tv products with Telescene, says Painter.

‘At this market we saw the size of our business changing,’ says Alliance International Television senior vp of sales Jean Michel Ciszewski. ‘Instead of $100,000 to $1 million deals, we’re now talking in the range of a few million, so deals are going to take awhile.’

Presales are in the works for The Inheritance in Germany, the u.k. and France, and a deal with Spain is imminent.

Deals are in the final stages for the action series Once A Thief in two major overseas territories, and, seeking presale and copros on Total Recall: The Series, the Alliance team held ‘advanced discussions with major European territories, particularly Spain and Italy.’

Captain Star closed in Holland and Black Harbour generated interest from major broadcasters in the u.k. and Germany, says Ciszewski.

The Hunchback of Notre Dame, available for tv outside the u.s. and Latin America, was sold to a pay-tv service in Scandinavia and Germany’s public broadcaster ard.

ctv acquired six titles for broadcast in ’97 and ’98, including Hunchback and The Inheritance.

Finding Europe a tough sell, with few drama slots available and the Americans dominating with set packages of a number of series, Multimedia Group of Canada senior vp international sales and development Sari Buksner was pleased with heavy shopping by the Middle East, with deals closed on Prisma’s Emergency Call, Productions Sovimage’s Lobby, and sales to several new satellite companies, including Showcase Media Services, which will launch later this year with the six-hour doc series Women: A True Story.

u.k. buyers crowded the Evergreen stand, the hot property being the Minds Eye/Condor copro The Lost Daughter. Managing director Dean Oros expects to close the u.k. in the coming weeks with bbc, ITV Network, Channel 4, Channel 5, and satellite broadcaster BSkyB.

‘We are estimating at least us$1 million for the u.k. sale, which will include terrestrial and satellite broadcasting rights,’ says Oros. cbs, abc and Fox are looking, and Oros’ ‘gut feeling is it’s going to run on cbs.’ A sale to South African broadcaster M-Net leaves New Zealand as the only territory yet to close, and a deal is also in the works there.

Salter Street/Cinar’s Emily of New Moon picked up several European sales and a deal closed with Iceland IceTV and Denmark’s TV2, says Salter Street’s head of international sales Lynn James. Ireland’s rte and pay-tv and broadcast outlets in Australia are interested, as is Disney Channel for the u.k. and Scandinavia. American sales are still in negotiation and bmg was looking at Emily for video distribution.

For its key project, Iron Eagle: The Series, Norstar Entertainment’s vp tv Milt Avruskin is disclosing only that paperwork is being finalized on an American presale; a deal in principle for continental Europe with Canal+ da, and other sales pending with American and international broadcasters.

Sullivan Entertainment’s executive vp of operations Don Pagnutti says deals will soon follow on Promise The Moon and Wind at My Back and projects in development – An Avonlea Christmas, Passion Play and an Anne on Ice skating special – which generated positive feedback.