Every filmmaker, producer and distributor of Canadian long-form content should take in ShowCanada. That way they can at least see the grill on the truck called Hollywood before it runs them over and drives away with the keys to Canada’s theaters. If the experience doesn’t inspire them to make films that people want to see, then sitting with some Canadian exhibitors might at least force them to look both ways – North and South – before crossing the street next time.

Nowhere is the 95%-5% disparity between American and Canadian product on our screens – and that’s in a good year – in more evidence than at the yearly gathering of exhibitors that showcases Tinseltown.

During the Warner Bros. luncheon at this year’s ShowCan in Niagara Falls (April 24-28) – between the raffle giveaways of a video iPod, XBox and digital camera – exhibs cheered a half-hour preview of the major’s biggest summer titles, including Ocean’s Thirteen and Harry Potter and the Order of the Phoenix.

Later that day, Wayne Clarkson ascended the stage to kick off the Telefilm Canada Gala Dinner, which celebrated the public funder’s 40th birthday and unveiled 14 promising indigenous feature film prospects, including Deny Arcand’s eagerly awaited L’Âge des ténèbres, François Girard’s period epic Silk, David Cronenberg’s thriller Eastern Promises and the ensemble drama Emotional Arithmetic from BBR Productions and Triptych Media.

Before Clarkson passed the baton to emcee Kevin Tierney to intro the film clips, he related a story from Telefilm’s founding year of 1967 – halcyon days when Norman Jewison received an Oscar directing nom for best picture winner In the Heat of the Night, and the Toronto Maple Leafs last won the Stanley Cup.

One of his childhood buddies was the son of longtime Leaf owner Conn Smythe (who had sold his interest by 1967). The night the Leafs claimed the Cup, young Clarkson feigned sleep and escaped to join a raucous party at his friend’s house. Picture the Leaf players in the Smythe living room, and Clarkson gulping champagne from the Stanley Cup as Eddie Shack tipped the goblet toward his open mouth.

Unfortunately, no English-Canadian feature has won the equivalent of the Stanley Cup, although Arcand’s foreign-language film Oscar qualifies on the French side. Clarkson’s story seems both mythical and typically Canadian. There was the vaunted Stanley Cup serving as a champagne flute in his neighborhood, but he had to bamboozle the parents to get a shot at it.

Nostalgia for the past was also one of the takeaways from industry analyst Howard Lichtman’s presentation earlier in the day on the state of the Canadian box office. A third of the Canadian population is projected to be 50-plus in 2010, and 65-plus in 2011. According to Lichtman, ’40 is the new 30.’ As of 2006, 35% of the population is 40-plus, while the much-sought after 12-24 demo sits at 36%, and 25-39 represents 29%. The average age of the casual video gamer is 41 years old – and half of them are women.

Telefilm would be happy to know that, to Lichtman, 40-60 represents what he terms ‘middlessence.’ His numbers suggest the major studios are missing a huge market. In fact, 50-plus is the fastest-growing sector in wealth and power. By 2010, spending by those 45-plus will be a trillion dollars higher than any other segment. Right now, every 85 seconds, someone turns 50 in Canada.

Speaking of which, Tierney, who successfully pitched Canadian all-time domestic box-office champ Bon Cop, Bad Cop to exhibitors at ShowCan in Victoria last year, introduced each Telefilm contender as would a stand-up comedian at Yuk Yuk’s.

‘There really is nothing like success,’ he deadpanned. ‘But Canadian content is important… I won the Genie for best picture and [now] I’m in Niagara Falls.’

Tierney also had some biting words for his pal Clarkson. ‘If you did $124 million in the U.S. (i.e. Bon Cop’s take multiplied by 10),’ he said, ‘you’d get a three-picture deal and an office on the lot. In Canada, you get the promise of an envelope – the contents of which is an utter mystery.’

When I asked a table of independent theater owners whether they program Canadian films, they nodded vigorously. But when asked to name the most recent title, they couldn’t remember. I suggested Away from Her, and they recovered their memory in unison. Sarah Polley’s feature had been in their theaters on tour as part of the TIFF Group’s Film Circuit.

While at the Warner luncheon, I sat at a table with the folks from Empire Theatres, the second largest chain in Canada with 54 theaters and 403 screens. Laurie Ann Coring, manager of marketing for Empire, told me that the Nova Scotia-based circuit’s programmers won’t initially book a Canadian film for more than a week. The reality, though, is that even blockbusters don’t play more than four or five.

The real conundrum is how to convince Canadian exhibitors that ‘smaller’ films can attract respectable audiences. Polley’s film, starring 65-plus Gordon Pinsent and Julie Christie, is geared to Lichtman’s ignored demographic, and recorded a strong $7,000 per-screen average in its May 4 opening weekend – largely on Cineplex screens. Based on those numbers, it’s platforming into a wider release.

In between teaser clips, Tierney managed to get a plug in for his new drama, Serveuses demandées. ‘Guess what?’ Tierney said while looking at Clarkson. ‘Telefilm is not an investor. When you get successful, they run out of money.’ He then took Cineplex president and CEO Ellis Jacob to task. ‘Bon Cop made $4-$5 million net. No popcorn, but I got my pass to Cineplex renewed. So I only have to pay a dollar [to see a movie].’

Tierney, more than most, knows what it takes to slow down the Hollywood machine long enough to get your Canadian movie seen on your own screens. After Telefilm’s showreel had finished, he was reflective as he looked out at exhibitors.

‘It’s really hard to make a movie in this country,’ he said gently after the final clip had run. ‘And no one sets out to make a shitty one.’