If you tuned in to the 75th Annual Academy Awards, you witnessed unprecedented success for the Canadian film biz, including key involvement in the night’s biggest champ.

We all know about the documentary feature win for Michael Moore’s Bowling for Columbine, coproduced by Alliance Atlantis Entertainment. The ceremony also made mention of Toronto-based Alias|Wavefront’s Oscar for scientific and technical achievement, while Eric Armstrong nabbed the best animated short award for The ChubbChubbs! (See story, p.5)

But the biggest message about Canada’s presence on the production scene came via the success of best picture winner Chicago.

Chicago shot in Toronto between December 2001 and March 2002. Featuring what producer Martin Richards called ‘a cast that any producer would die for,’ the film danced across the silver screen thanks in large part to four months of blood, sweat, tears and talent from the Toronto film community.

A couple of these local laborers – set decorator Gordon Sim and sound man David Lee – were honored at the Oscar podium. But they represent only the tip of the iceberg. For instance, how about the camera crew that helped craft Chicago into such a kaleidoscopic piece of eye candy? DOP Dion Beebe (himself nominated) could not have done it without the likes of Toronto-based Steadicam/camera operator Peter Rosenfeld and second-unit DOP Peter Benison.

These awards should finally put to rest any doubts about Canadian crews. It’s certainly not good news for the Film and Television Action Committee, an L.A.-based group comprised of U.S. craft workers, the sole purpose of which is to lasso so-called ‘runaway production.’ Chicago’s Oscar showing is FTAC’s worst nightmare: it tells other producers that not only does Canada have a cheap dollar and attractive tax subsidies, but its film workers are on par with the best.

Three years ago, before the ‘runaway production’ issue got really hot, I met late great Polish cinematographer Piotr Sobocinski (Oscar-nominated for Three Colors: Red), while he was in Toronto shooting the Hollywood feature Angel Eyes. The film also happened to be set in Chicago and involved some of the same crew as the film Chicago, including Rosenfeld.

‘I worked with the best crews all over the world, but here I have a really fantastic crew,’ Sobocinski said. Of the Canuck group’s work ethic, he commented, ‘I never hear the word ‘no.’ It’s really the first time in my life that I’m going on the set with pleasure.’

All the Hollywood producers, directors and DOPs I have ever spoken to on the matter have reiterated a similar sentiment. True, X-Men did not return to Toronto for its sequel, but that was due to Hogtown’s soundstage limitations. It did, however, pop up in Vancouver, so obviously 20th Century Fox continues to have faith in Canadian crews. Do you think it would take any chances on its US$100-million opus?

And looking ahead, Toronto will prove a greater temptation for foreign producers if and when one or two of the proposed mega-studios are completed. The timing could not be better, with the Film or Video Production Services Tax Credit recently upped to 16%.

Chicago marks the first best picture Oscar winner shot north of the 49th. At this rate, it doesn’t stand to be the last.