Scrap it or save it?

The CRTC task force on the Canadian Television Fund came out on June 29 with a number of controversial recommendations for the CTF, including: lowering Cancon requirements from 10/10 to 8/10 CAVCO points for primetime shows; setting aside a chunk of existing money for new media; and directing more than half of CTF funds to shows based on ratings.

After getting an earful of response from stakeholders, the CRTC is working on its final report, due Sept. 15.

While we wait, Playback approached various industry players to ask how they would fix the CTF. For those in traditional TV production, a ‘don’t-fix-it-if-it’s-not-broken’ attitude prevails, while one new media producer argues that a radical overhaul is in fact needed.

(Cablecos Shaw Communications and Videotron were behind the initial push for changes, and while Shaw did not respond to requests for comment by press time, Pierre Karl Peladeau, head of Videotron parent Quebecor, did. See story, p. 15.)

Most of whom we spoke to are calling for no change for change’s sake, and no changing on the fly. Just steady as she goes – and, of course, more federal dollars for independent production.

Here’s what they had to say:

ERIC BIRNBERG
Producer/entertainment lawyer, High Park Entertainment and Lewis Birnberg Hanet LLP, Toronto
‘I feel that the various mandates for this unique fund are being well-addressed, although I appreciate that, as the industry evolves, tweaks to the programs and rules – such as new media funding – are vital.

‘I’d suggest that broadcasters be required, with fund-supported shows, to provide stable, primetime programming slots – more than just a single airing in primetime at some point over 18 months. The fund-supported shows should also be supported by significant and measurable promotion.

‘I remain ambivalent on whether eight-point shows [on the CAVCO scale] will translate into more success, and if so, whether a less-than-10-point test should cover all genres.’

TIM SOUTHAM
Director (jPod, The Bay of Love and Sorrows)
‘The CRTC’s CTF task force report is puzzling. Why is it that Canadian producers and broadcasters would continue to enjoy exclusive access to CTF financing while Canadian directors, writers and actors would find themselves increasingly shut out?

‘Domestic ratings successes such as Slings & Arrows, Degrassi: The Next Generation, Corner Gas and Trailer Park Boys tell us one thing loudly: 10-out-of-10-point Canadian productions made by Canadian producers, writers, directors and actors are succeeding with Canadian viewers.’

MAUREEN PARKER
Executive director, Writers Guild of Canada
‘We support the requirement by the task force that the BDUs make monthly contributions and should be part of the regulatory policy. There’s very little else that we can support [in the CRTC report].

‘Now, we’re always in favor of enhanced financing [for the CTF], and particularly in the area of new media, where the task force has suggested taking existing funds and diverting them to new media. We’re opposed to that. We believe new media is essential, but financing can’t be taken from a far-too-small fund to support new media production. We absolutely need more money. Our politicians need to ensure some stability in financing.’

STEVEN COMEAU
President of Collideascope Digital Productions, Halifax
‘I agree with the cable companies. The CTF has degenerated into a big broadcast slush fund. I want [broadcasters] to be competing with each other. I would advocate putting together a much more competitive process for the broadcasters to access the envelope system, where the criteria on which they competed were the goals set forth by the CRTC, as far as creating high levels of Canadian drama and promoting it correctly.

‘In the switch from a competitive system among producers to the envelope system – where the broadcasters are assigned money and can do what they want with it – a huge number of checks and balances were removed. To put the checks and balances back in, and still maintain the envelope system, the process needs to be made more competitive.

‘So, broadcasters that increase the audience share for Canadian shows by 10% year-on-year, for example, should get more money from the fund.’

IAN MORRISON
Spokesman for Friends of Canadian Broadcasting
‘It ain’t broke, so it is not necessary to fix it…All funds should go to projects that speak to Canadians about, and reflect Canadian themes and subject matter. All should be certified by CAVCO and achieve 10/10. The underlying rights must be owned and significantly and meaningfully developed by Canadians. Each project should be shot and set primarily in Canada. CBC should, at a minimum, have access to 37% of the funds.

‘Any investment of CTF funds in new media should take place only from new monies, rather than a redirection from existing priorities. Instead of increasing BDU representation on CTF’s board, new seats should be allocated to disinterested parties in a position to speak for the public interest.’

WENDY CREWSON
Actor (ReGenesis, Away from Her)
‘First – don’t mess with the fund that is meant to promote Canadian content in a virtually all-American film and television world. Second – don’t let the cable giants off the hook because they throw a fit about having to contribute to the fund…They’re given the gift of using our airwaves, and in return expect to give nothing back to the creative industry?

‘This production fund must remain in place. Let’s get back to the table and discuss this like the professionals we are.’