Jean Chaput has been president of SODEC for only about a year, yet in that short time the Quebec film industry has recorded yet another impressive cycle.

And the provincial government’s cultural agency has played a pivotal role in that cycle, backing most of the winners. From Oscar nominee wannabe C.R.A.Z.Y. to other major hits such as Aurore and Horloge biologique, SODEC-supported Quebec films are everywhere, ringing the box-office till at home and generating buzz on the international film festival scene.

‘There’s no question about it – this is a good time for Quebec cinema,’ Chaput says. ‘The industry has matured here, has become diversified. There is room in Quebec for auteur-driven features as well as genre films. The quality of films here has vastly improved over a decade. Of course, we feel SODEC has played a role in all of this.’

And what makes Chaput a logical choice to lead the charge at SODEC, which touts its current mandate to support projects that show both artistic and commercial potential, is the fact that he arrived with both business and creative credentials.

He has worked for a number of Quebec financial institutions, including the Caisses populaires, one of Quebec’s biggest banks, and, in a different vein, has produced various live stage shows for Quebec theater.

The varied nature of his background even stretches back to his education, which includes degrees he picked up at the French-language Université de Montréal and at the cross-town, English-language Concordia.

Chaput says this diversity of experience informs both his work habits and his philosophy for SODEC.

‘About 60 percent of my ability and experience is in managing and administration – the other 40 concerns cultural concerns and artistic activity,’ he says. ‘This job allows me to combine my experiences managing funds while also tapping into my creative side. I find they complement each other very well.’

SODEC’s role, as Chaput sees it, is primarily to facilitate ongoing growth within the industry.

‘We see ourselves primarily as a catalyst,’ he notes. ‘We need to keep channeling our energies and resources in a very focused manner. We’re trying to give our artists and producers the tools they need to be as creative as possible.’

While some critics complain that SODEC has in recent years given less money to individual projects in order to accommodate a greater number of productions overall, Chaput feels that the agency’s twice-annual production funding deadlines allow it to accurately assess which projects are the best, and to gauge where the industry is headed.

‘This gives us a very good idea of where things are going and what trends are developing, as well as what’s working and what’s not working,’ he explains. ‘We assist at all levels of production, from screenwriting to production to promotion. This comparative analysis allows us to have a broad overview of what’s going to be produced over a year.’

While SODEC’s first decade has been a tale of success, Chaput notes that in order to continue its winning streak, the funder will have to adapt to a rapidly changing media landscape.

‘We have to make sure we’re on top of the new technologies,’ he says. ‘Digital technology – it’s changing everything, from the people who make films to how they’re watched and distributed. We have to have those tools ready that allow us to support the new movie enterprises. The other goal is to reach out to new international markets and support our cinema reaching into new territories worldwide.’