Stating that he needed to ‘flex other creative muscle,’ Slawko Klymkiw announced his resignation as CBC executive director of network programming, as well as his move to executive director of the Canadian Film Centre, on Aug. 18.

And while Klymkiw, 52, concedes he was disappointed a year ago when it was announced that he would not be promoted to executive VP of CBC Television, he indicated that he was not bitter about the position going to Richard Stursberg, former head of Telefilm Canada.

‘I didn’t think it was so good back then when I didn’t get it,’ says Klymkiw. ‘But ultimately, I think it’s been a good thing. I gave them a year and took some time to figure out what it was I wanted to do. I have been program director for nine years. This is a universal thing for many ­- change is good.’

Klymkiw produced news programming in Winnipeg until 1988, when he moved to Toronto to work at CBC headquarters, where he moved up the ranks. A year ago, however, Stursberg was hired away from Telefilm to take the job Klymkiw had hoped would be his.

Klymkiw brushes aside any hint of animosity towards Stursberg, despite widespread rumors that Stursberg’s approach to audience-building clashed with Klymkiw’s insistence that there was nothing wrong with some shows not getting stellar ratings.

‘Richard Stursberg and I are totally in line on where the CBC should be going,’ he says. ‘He gave me remarkable latitude in the time we worked together. We have been good friends for years and had a remarkable working relationship. We both understand the need for building large audiences for CBC programs.’

Klymkiw will begin his gig at the CFC in early September. Filmmaker Norman Jewison founded the center in 1988 in an effort to professionally develop Canada’s domestic film talent, honing the skills of budding producers, directors, screenwriters, editors, and later on, new media artists. Wayne Clarkson had headed up the CFC until he took Stursberg’s vacated Telefilm post in January; Klymkiw’s arrival at the center brings the situation full circle.

Some have argued that the movies produced through the CFC’s Feature Film Project have largely not lived up to expectation, with the noteworthy exception of the surprise international sci-fi hit Cube.

Klymkiw says part of his goal is to help ‘create a larger national profile’ for the CFC, putting an emphasis on ‘programs that will create watchable, brilliant movies and shows.’ He adds that there ‘are no downsides to the center. It has a very solid reputation. I want to move it to the next level, to give it a stronger national and international reputation. I’m very excited about it.’

And while Klymkiw says the timing ‘couldn’t be more perfect’ for his move, he adds the departure from the CBC had nothing to do with the current lockout of more than 5,000 employees across the country. ‘I had no idea about this lockout. I had already set the schedule for the next 12 to 18 months.’

Does he have any forecast for the lockout, predicted by some to be drawn-out and nasty? ‘I haven’t got a clue what’s going to happen here,’ he says. ‘It is of concern to me, of course. There are people I know remarkably well on the picket line.’

Klymkiw’s legacy will include such popular CBC programs as Canada: A People’s History, the Trudeau miniseries and Da Vinci’s Inquest. He says his disappointments at CBC were ‘few and far between. For the most part, I’ve had the time of my life here. [Producer] Michael Donovan once said to me, ‘Your job is like the equivalent of playing Carnegie Hall.’ So I’ve done that, and loved it, and it’s just time to move on. Did I wish more people had watched certain programs? Yes, at times. I wish the documentaries on The Greatest Canadian and the miniseries Sex Traffic had picked up better audiences. But our kids programming has done incredibly well. That’s made me very proud, as has our comedy. The CBC is home to comedy – that has become clear. That bodes well for the future.’

Klymkiw offers some advice for those who remain to navigate the CBC through an increasingly diverse TV and media landscape.

‘You’ve got to offer your audience a unique proposition,’ he argues. ‘As a public broadcaster, you’ve got to let people know that you have relevance that extends beyond what the private sector is offering. It’s an ongoing and noble struggle.’

As for the occasional election promise that CBC coffers will be boosted, Klymkiw says, ‘Don’t count on it. I never relied on the pumping-up of monies to the CBC. I think there will be modest support for public broadcasting in Canada. Look at the BBC ­- in Britain there is huge support for public broadcasting. We have to make sure that Canadians feel it’s worth having a strong public broadcaster.’

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