PETER Vamos’ editorial in the June 7, 2004 edition of Playback (‘Why seven production centers?’) seeds the notion that the creation of a broad and diverse national production sector is clearly undermining the entire national infrastructure now that production has slowed. He suggests that Canada’s film and television industry should be returned to its ‘traditional production centers’ in Vancouver and Toronto since the relative decline of production in those regions, their lack of competitive tax-credit and equity programs, and Canadian and foreign producers electing to film their projects in other provinces have placed these regions under threat.

At first glance it would seem as though his assumptions may be correct. According to Profile 2004 – a report on the Canadian film and television production industry published by the CFTPA, the region that experienced the most growth (20%) in 2002/03 was the Prairie Provinces. The combined volume of production in Manitoba, Saskatchewan and Alberta, according to the 2002/03 statistics of the Association of Provincial Funding Agencies, was $202 million – 10% of the $2 billion combined production volume of Ontario and British Columbia.

There is no question that Toronto and Vancouver are among Canada’s finest and offer production services that stand our country in good stead around the world. They should be.

Vamos states, ‘Canada spent years developing in Toronto and Vancouver what is recognized as the best crews and production services outside of southern California.’ This is an investment that we are proud of as a country and something we can certainly take to the bank by way of attracting production to Canada.

However, in terms of production in other regions undermining the national infrastructure, it is our view that in fact just the opposite is true. One example to consider is the recent outcome of the Canadian Television Fund decisions. The three Prairie Provinces received 8.1% of the total available funding as compared to the 53.8% that went to Ontario and B.C. In addition, 24.4% was allocated to interprovincial coproductions in which in every case there was an Ontario coproducer. One might argue that the Prairies are in fact subsidizing the national infrastructure.

Given the world conditions that the industry has lived through recently, raising production financing has become a Herculean task. We are of the view that coproducing between the provinces is healthy for Canada. No singular region has a monopoly on a good creative idea. In fact, the success of The Saddest Music in the World, Corner Gas and A Problem with Fear is clear evidence that audiences appreciate and respond to well-told stories. This concern with monopoly applies equally to original shows. Where an idea originates from is irrelevant as long as it can be produced and put before an enthusiastic audience. Surely that is in the interest of the Canadian tax payer regardless of where the project is produced.

In spite of a rising Canadian dollar, moderate tax-credit incentives and competition from new production regions around the world, Manitoba, Saskatchewan and Alberta all continue to produce outstanding indigenous projects and attract high-profile offshore productions from the U.S. and abroad. We know that these companies have valued their production experience in the Prairies and have spread the word that Canada is a good place to do business – across the country.

So to offer Vamos an answer to his question as to the value of having more than two production centers in English Canada – we believe that demonstrated success and growth of production in the Prairies contributes to strengthening Canada’s economy, employment, distinctive voice and competitive ability in the world market.

If ‘strengths should be rewarded by success,’ then we’re proud to be doing our part of the job. As the editor of Canada’s national trade magazine for the film and television industry, we hope Mr. Vamos would agree.

Valerie Creighton

C.E.O and Film Commissioner, SaskFilm

Carole Vivier

C.E.O and Film Commissioner, Manitoba Film and Sound

Jane Bisbee

Film Program Consultant, Alberta Film