Vancouver: Canadian films will have to be commercially, rather than culturally, successful if they expect to meet government policy objectives to increase their share of domestic box office from 2% to 5% by 2006, says Canadian Heritage Minister Shelia Copps.

The issue is accessibility both in content and audience development, says Copps, in Vancouver Oct. 6 to host the Minister’s Forum on Canadian Film in the 21st Century, an open discussion with young filmmakers on the future of Canadian film.

‘It sounds like a contradiction, because theoretically [the success] should be cultural, but culture also needs to be shared,’ says Copps. ‘If your stories aren’t shared, if your art is completely introspective, then it’s not accessible. We are a huge country, crossing six time zones, and a small population, so the solutions are not only the theatres. The solutions must also be in unique repertory theatres and in touring festivals.’

The Ministry of Canadian Heritage flew 20 producers, writers, directors, actors and broadcasters to Vancouver to interact with Copps, Telefilm Canada chair Charles Belanger and Tom Rowe, co-chair of the Feature Film Advisory Group. Participants included writer/director Ori Kowarsky of B.C., Hollywood/Bollywood actor Rishma Malik from Ontario, producer Luc Dery from Quebec and Inuit broadcast professional Sylvia Cloutier from Nunavut.

Tom McSorley, broadcaster, professor and director of the Canadian Film Institute, moderated the event.

‘These are the Canadian film artists who are going to present their talents on screens around the world,’ said Copps. ‘I want to hear about how they got where they are today and how we can help address the challenges of the future.’

Along with discussions about the pros and cons of quota systems and getting more from distributors and exhibitors, participants also focused on new technologies, diversity and the lure of Hollywood.

Copps held up the successful French-Canadian film industry as a model for the rest of Canada to follow, and highlighted the need to market Canadian films.

‘Television can help in the promotion of film,’ said Copps, noting that the government is considering a plan to count television ads for Canadian films as Canadian content for domestic broadcasters.

Men with Brooms, for example, used the Olympics and the World Curling Championships to promote the film, Copps noted.

‘That was a lift-off that we’d never seen in Canadian film,’ she said. ‘I think the films we make are good; most people just don’t know about them. So there is a lot to be said for using a successful platform, which is television, as a trampoline for the watching of more feature films in the theatres.’

Television, she added, will also help the star system.

‘In Canada, we have a whole slew of recognizable stars,’ said Copps. ‘That goes back to television being our best creator of recognizable faces. If you look at Paul Gross, for example, his point of entry has been television. So we have to take a closer look at how the success of television might be a stepping stone for better success in the movies.’

The elimination of the CRTC’s drama incentives for broadcasters hurts that goal, she admits.

‘It’s a cloud on the horizon,’ said Copps. ‘You can see the direct relationship of [the loss of drama incentives] and the precipitous drop in drama. We are looking at options.’

Copps is also working on more funding for the Canadian Television Fund, whose $100-million investment from the Canadian Heritage has not yet been renewed for April 1.

‘I am working with the industry to secure a renewal,’ said Copps, without being specific on the amount of the renewal. ‘[The CTF] is a great economic motivator and creator of Canadian stories. After talking with the minister of finance and government, there is every indication that everything is going well for renewal, but that’s something you can never take for granted. Preferably, the renewal will be multiyear. But it’s also going to be a function of what other priorities the government has set aside for the budget.

According to Canadian Heritage, the total volume of film and television production in Canada in fiscal 2000/01 was $5 billion, up 13% over five years. Of that, $1.3 billion was feature film activity, while $3.7 billion was television activity. Employment is also up 13% over five years to 134,000 direct and indirect jobs. The public sector, at 36% of budgets, represents the number one source of financing of Canadian certified features. As of August 2002, Canadian films represent 2.3% of total annual box-office share.