Coproduction figures from Telefilm Canada for 2000 are up 45% over 1999 to $872.2 million, highlighted by a doubling in feature film budgets to $300 million and stunning growth in projects with the u.k. to $407.8 million. France, traditionally our leading coproduction partner, remains a vital market with coproduction budgets above $310 million in 2000.

Muse Entertainment Enterprises president Michael Prupas points out coproduction is an essential framework for Canadian producers seeking ways to finance content shows. ‘With the television system in the United States, specifically series, it becomes very difficult for a Canadian company to participate in that (network) business because production companies are all required to put up deficits of substantial amounts of dollars. And we can’t afford it.’

With the wind in our sails, time is right for the Canadian industry to push coproduction activity to even higher levels, and flexibility may be one of the keys.

In the tough u.k. primetime market, getting started may mean taking a minority role in the kind of project that in the past would have been 100% British-produced. Ratings are in decline for the main u.k. terrestrials, and that, too, is an argument for coproduction.

London, Eng.-based producer David Ferguson, president of Cinar Europe, says a lot is changing in the u.k.

The standard wisdom that says the generous Canadian tax credit and the direct cost of producing in the u.k. have made it almost impossible to shoot in the u.k. may no longer be absolutely valid. A new project cost analysis, he says, points to the competitiveness of the u.k., particularly the North of England, mainly because of greater union flexibility. ‘Where we use to be quite flexible, it seems the British are becoming very flexible. In the u.k., a lot of artists are allowing for buy-outs.’

Producers in major European markets realize they can go longer finance quality network and specialty programming entirely within their own market. And, as they look to build partnerships, they have to compete worldwide.

‘If they [u.k. programmers] can put something on tv that is a 50-50 Canada/u.k. [coproduction] and get good ratings, they’ll do it as long as they’re not putting up 100% [of the money] and getting a 50% creative Canadian property,’ says Ferguson.

In the current review of coproduction policy and rules, we need to closely examine restrictions on third-country talent, whether it’s the u.k. or the u.s. as well as the present cap on foreign technical services for animation coproductions. Meanwhile, Canadian producers should be looking at other daring initiatives – like improving our coproduction performance in French-language tv drama – perhaps by building an interesting inventory of tv movies and miniseries.

Coproduction has its cost, but it is a proven framework for Canadian content, higher budgets and production values and de facto access to foreign markets. It means producers can generally retain greater benefits than simple fees. As coproduction widens and partnerships follow suit, both content and financing gain in flexibility.