New ctcpf policy guidelines which will govern sublicencing deals between the cbc and Canadian private broadcasters next year are in discussion at the board of directors level for the next two months.

In the grand scheme of things, the bitter debate following the cbc’s deals with CanWest Global and WIC Western International Communications for Traders and Emily of New Moon respectively is slipping quietly off the radar. Gone maybe, but not forgotten by subsets of broadcasters and producers questioning the sublicence arrangement amid general consternation over how the ctcpf was managed this year.

Post the Banff Television Festival-based annual general meeting of the ctcpf, the process in play has left board executives with two remaining months to hash out a viable sublicence-specific policy for year two of the fund. A decision is expected at the next board meeting in September prior to a flat-out lobby effort for renewed resources from the feds which will hit its stride in October and November.

The sublicencing issue, which many say has been responsible for more bullying, lobbying and backbiting over the past few months than any in recent memory, has left smaller producers divided against their larger counterparts and split the usually cohesive efforts of the broadcasting lobby.

The polarities are fairly straight up. On the broadcasting side are those who believe a homegrown sublicence deal based on the Traders CanWest/cbc model should be exposed within the application and funds allocated accordingly. For example, if Global absorbs 60% of the first-window licence fee and the cbc 40%, then 60% of the kitty should come from the private envelope and 40% from the cbc side.

On the other side are those who say the ctcpf has no reason to autopsy what is essentially a business arrangement.

Larger producers are in favor of any arrangement that pumps up the hefty budgets required of dramatic series production while the midsize and smaller producers are casting a wary eye on next year’s smaller offering and advocating a policy which more ably spreads the wealth.

Although no one is willing to go on record, sources say Heritage Canada’s desire to bolster the cbc may work to swing policy in favor of guidelines which support the beleaguered pubcaster. A compromise may mean the Licence Fee Program and the Equity Investment Program go different ways, with the lfp examining the deal and the eip taking it at face value. The cbc is eligible for up to 50% of the lfp; it accounts for a full 50% of eip monies.

New board members

New contributors to the dialogue are board appointees Canadian Cable Television Association president Richard Stursberg, Showcase and History Television president Phyllis Yaffe, Garry Toth, executive director of the lfp, and Rogers Telefund executive director Robin Mirsky.

A subcommittee continues the search to replace ctcpf chair Phil Lind, vice-chairman of Rogers Communications, who wrapped his term with the fund at Banff. Former executive director of the lfp Bill Mustos, who left to become vp dramatic programming for Baton Broadcasting, is back on the ctcpf board as one of the cab’s representatives.

Execution fallout

Whatever policy tweaks come out of the board’s decision, it’s cold comfort for those coping with the fallout from this year’s execution. Registering disapproval this week are Newfoundland producers who were relying on the ctcpf to jump start their fledgling production industry.

After receiving a $100,000 investment in a new film development corporation from the provincial government, another $90,000 to support industry initiatives, and a tax credit proposal in the works, Newfoundland producers say indigenous local production is going nowhere fast.

‘We don’t expect there to be any production in Newfoundland this year because we have been shut out of the ctcpf,’ says Ken Pittman, president of the Producers Association of Newfoundland. ‘And we have no sense that the next fiscal year will bring any improvement.’

Jennice Ripley, a board member of pan, says the problem is that the structure of the fund is working against small companies across the country. Those at a distance from the main deal-making centers can’t get in the lineup fast enough, while the major players who pick up broadcast windows more easily are absorbing the fund, she says.

‘There is nothing about the way the program is being run that directly addresses the disadvantages of the smaller producer in the regions and allows them to play on equal ground. Bonuses and licence fee thresholds aren’t necessarily the answer to address regional circumstances.

‘No matter what generous bonuses and reduced licence levels [are available], because of the way the program is designed we are still unable to draw on the funds despite the fact that Cable Atlantic is contributing $2 million to it.’

In other parts of Atlantic Canada, concern is less evident. Bill Skerrett, a Dartmouth, n.s. producer, is pushing hard to get his paperwork in as soon as possible to get to the funding trough, saying, ‘Atlantic producers are being treated the same as everyone else and we’ll get our share of the fund – all producers are in the same boat.’

But at the same time he notes that with licence fees low at the specialties where he’s placing his healthy documentary slate, the ctcpf is the key to greenlighting his programs. ‘It will be devastating if it runs out,’ he says. ‘But what else is new in this business.’

For an update on ctcpf funds ‘remaining,’ see: CTCPF Countdown, p. 5.

With files from Cheryl Binning.