Although tax credit talks with the Alberta government remain at a standstill and the province has lost nine projects worth roughly $27 million since the beginning of the year, projections for Alberta’s 1997 slate are cautiously optimistic, fueled by the injection of indigenous production funding from new broadcast players on the Prairie scene ­ Craig Broadcast System’s A-Channel and Baton’s cfrn takeover ­ and the promise of a busy summer of service work .

The A-Channel Drama Fund has licensed four projects worth about $11 million in production for year one, says the fund’s executive director Joanne Levy, and there’s a possibility a couple more commitments may be made in 1997.

First up for production is Calgary-based Nomadic Pictures’ Ebenezer, a $3-million, 90-minute 1870s western version of A Christmas Carol. With a month of shooting set to begin May 12 at the CL Western Studios and Backlot in Springback, a local crew of 100 has been hired, says executive producer Chad Oakes.

The film stars Albert Schulz (Maximum Risk), Jack Palance (City Slickers ii) and Amy Locane (Carried Away), but 52 speaking roles and 150 extras will be found in Calgary.

Oakes also has a feature and tv movie on his slate which he hopes to greenlight in the province in the coming year. ‘I’m going to stick it out in Alberta,’ he says, ‘But I want this tax credit situation worked out.’

The three additional A-Channel licensed projects ­ a post-wwi thriller and an urban mystery totaling $5 million in production budgets, and a tv romantic comedy worth roughly $3 million ­ will be announced once all the financing commitments are secured.

The A-Channel Fund will offer $75,000 in development money once the Edmonton and Calgary stations sign on at the end of September, adds Levy. Alberta-based properties will also have good opportunities as acquisitions on the new stations although no fixed allotments for local programs have been made.

Baton Broadcasting’s acquisition of cfcn-tv Calgary has opened up new money for Alberta producers through the CFCN Production Fund, a new five-year, $7.5-million, condition-of-licence initiative.

Bruce Nelson, executive vp of cfcn, says a total of $1.28 million will be spent in Alberta in the upcoming year, $1 million of which will be offered in the way of top-up equity investments to trigger indigenous tv projects. Approximately $120,000 will be handed out for program development.

May 9 is the deadline for the first round of applications and Nelson says an arm’s-length board will make its commitment decisions when it meets in early June.

The 1997 service industry forecast is looking bright even before the full slate is firmed up. Disney has just opened a production office and will begin shooting 13 episodes of the kids’ tv series Honey I Shrunk the Kids in June. Hearst Entertainment has just arrived in the province and will begin a month of principal photography on the feature Sweetwater Redemption beginning May 28. And Illusions Entertainment is settling in for the feature Silent Cradle.

‘We have had tremendous interest from Hollywood,’ says Murray Ord, director of the Alberta Film Commission, reporting at least 18 l.a.-based runaway projects which are as yet unconfirmed but look promising.

Debra Brahn, business representative at IATSE Local 212, Calgary, also confirms that the summer looks busy for crews with a record number of foreign producers scouting the area.

Despite the guarded optimism, the indigenous picture isn’t entirely rosy and 1996’s record $150 million worth of production activity, $50 million of it indigenous, isn’t likely to be repeated. The bulk of that domestic activity was driven by North of 60, which will wrap another season in June, and Jake and the Kid. At press time the future of this Great North/ Nelvana series was awaiting the red or green light from wic.

Both those productions received the final allotment of the ampdc funding, and without a tax credit in place, new big-budget projects won’t be added to the domestic slate, says ampia president Margaret Mardirossian. The effects are beginning to be felt, particularly in the indigenous-driven Edmonton production industry, she says.

‘A lot of our producers are being courted by other provinces,’ says Ord, noting that although crew numbers are remaining stable so far, ‘down the road it is going to be a significant concern.’ Already, actra’s Edmonton representative Sharon Killey says many of their talent is being forced to leave.

But Mardirossian is optimistic by the end of the year a tax credit will be introduced and to that effect ampia is continuing its pressure on the Alberta government. ‘Talks are continuing and they haven’t said no to a tax credit,’ she reports.

Although future production prospects dominate the industry agenda, Alberta producers took time out April 26 to celebrate the past year’s bumper crop of indigenous product ­ from commercials, music videos, shorts, tv movies and series to docs and features ­ at the 23rd annual Film & Television Awards.

Great North Productions emerged the top prize winner, scoring six Rosies including best series honors for Jake and the Kid. The drama series also picked up best art direction (Jim O’Grady), dramatic script (Scot Morison) and male lead (Shaun Johnston) prizes. Acorn: The Nature Nut took the light information category and John Acorn was named top host.

Cracker Films was another big winner, garnering five awards. Its drama Claire was presented with Rosies for best production under 60 minutes, direction (Julie Trimingham) and best female lead (Esther Purves Smith), and Everybody Wants To Be A Cat won for top music video and best cinematography (Brian Whittred and Carey Toner).

White Iron Productions claimed four Rosies, with Time For Mercy named best doc under 30 minutes, The Great Centennial Cattle Drive taking the non-dramatic script (Fred Stenson) and cinematography categories (Peter Ladiges), and ‘Tragedies’ for The United Way the top psa prize.

Born Hutterite, produced by Dale Phillips for Black Hat Productions, was named Best of the Festival and also took prizes for best doc over 30 minutes and non-dramatic direction for Bryan Smith.

Cynthia Wells Productions’ Black Angels was another multiple winner, garnering prizes for musical score (Piotr Grella-Mozejko), overall sound (Doug McCann), and dramatic cinematography (Richard McNeil).

North of 60, an Alliance/Alberta Filmworks coproduction, emerged with one award, with Dean Soltys accepting the dramatic editing prize.

A special jury award went to Rage, a four-hour doc produced by Dave Cunningham and Bob Aliman exploring violent behavior. A special tribute was also paid to J.R. Shaw through a Friend of the Industry award, recognizing his contribution to the Alberta film industry.

Other Rosies were claimed by Richard Reeves’ Linear Dreams for animation, Naked Pictures’ The Last Saskatchewan Private for short under five minutes, Ken Rempel’s Charles for best short, and cbc’s Get a Laugh as top musical/variety.

The experimental prize went to A Nation is Coming, produced by Sara Diamond, the nfb’s Unsuitable Actions took the educational category, and cfrn’s Harvest of Freedom was named best news and public affairs program.