Praise for Mr. Macerola

The reconfiguration of the stars right now is astonishing, says Barbara Samuels, president of Fogbound Films. Whether it’s dismantling wic, Robert Lantos’ move out of the television business or the smaller piece of news that Samuels and her partner of 10 years Wayne Grigsby are going separate ways, great changes continue to overtake the industry. The most recent example is the resignation of Telefilm Canada’s executive director, Francois Macerola.

With the events of April gone but not forgotten, Macerola has long been touted as the fall guy for Telefilm’s role in the mayhem. But the point should be made that the nature of the Telefilm system – which leaves bureaucrats telling producers that their programs are either good or bad and awarding financing accordingly – isn’t a choice he made; it’s the mandate with which he was charged, and to that end, there are many who speak well of him.

Micheline Charest, chairman and co-ceo of Cinar Films, says Macerola’s tenure (1995-1998) has been characterized by an incredible increase in demand during a difficult growing period.

‘So as far as the agency’s record is concerned, I think it succeeded in diminishing its overhead and costs to provide a greater service,’ she says. ‘It was also able to adapt by closing its foreign offices. It showed an ability to turnaround.’

Rhombus Media’s Danny Iron makes the point that despite domestic licence fees and international presales for Rhombus projects, without Telefilm many worthy shows would not be produced. It’s a point that was forgotten in April.

‘I see it as somewhat unfortunate that the independent production sector was not completely unified in supporting Telefilm,’ says Charest. ‘I find it very disappointing, because in the entire system, it is the only agency that is there for us.’

Samuels says that Macerola has always been tenacious and loyal going back to his time as government film commmisioner. ‘I always found him audacious and willing to take risks and willing to take it on the nose. He’s been a guy who throughout his career has been in the political hot seat. I saw he could take unpopular decisions which didn’t always rest well with committees. And I admired that.’

Going forward, whoever replaces Macerola will need a similar courage. With the maturing of the industry, persistent opposition to Telefilm’s subjective processes is inevitable. Inept managing of the dialogue between those who want the system to change and those managing the system could help destroy the industry’s chance of seeing the CTF renewed.

At the same time, Telefilm’s new executive director will also have to play a role in convincing the industry that it’s in everybody’s best interest to play quietly. Somehow the have-nots need to be convinced of the wisdom of keeping quiet for the sake of the greater good. It didn’t happen in April.

The final word goes to Macerola.

‘We had to go through the April exercise or event, but I’m quite sure the demonstration will be made that the Canadian Television Fund and the partnership between the public and private sectors is a new concept which will genuinely benefit every single producer, distributor and broadcaster in this country. I personally believe it’s a must that we open the public agencies to the private sector, and that we have a more dynamic, transparent relationship. On the other hand, we must be clear that the final decision rest with Telefilm Canada. I’m not saying this because I want to please the minister. I went through the month of April, but I’m sure the partnership is designed for the benefit of the entire industry.’