The art of Canadian drama production.

Even with the input of the new $100 million from the ctcpf, budgets over and above the $1-million-per-episode mark, and the ever increasing number of broadcast windows for Canadian productions, dramatic series stamped Made In Canada are still the most arduous of the program genres to sell and finance, not to mention produce.

How well it’s working is cause for speculation, but the bottom line after year one of the ctcpf is evident if only in the oversubscription tally and the frenetic union crews in the major centers. At the end of the summer there will be more Cancon programming in the offing than ever before. It’s a buyers’ ­ the broadcasters ­ market.

With that in mind, Playback went to the heads of original drama production at the six major networks to discuss the evolution of the flagship Canadian product on their 1997/98 schedules. How program strategy has evolved at their respective nets, the best means of reaching new audience, and blue-sky plans for drama production are all fodder for conversation in interviews with Loren Mawhinney, vp Canadian production for CanWest Global; Baton Broadcasting’s vp dramatic programming Bill Mustos; CTV Network’s group vp programming Gary Maavara; Dale Andrews, executive vp for WIC Entertainment; Andre Provencher, vp programming at TVA Network; and the cbc’s Susan Morgan, creative head of dramatic series.

See p. 34 for case studies on Alliance Communications’ Once a Thief (ctv), the Keatley MacLeod Productions and Atlantis Communications coproduction Cold Squad (bbs), Altantis’ Traders (Global), Donkey Kong Country from Nelvana and Medialab of France (wic), the Chris Haddock and Lazlo Barna-produced DaVinci’s Inquest (cbc), and Diva, produced by Productions Sovimage (tva).

* * *

When Dale Andrews is out meeting with independent producers, he’s more attracted to their television proposals that can generate long-term revenues than those that can immediately fill a hole in the next programming schedule.

‘Given the high cost of production,’ says WIC Entertainment’s Vancouver-based executive vp, ‘we are particularly interested in properties with long-term value. We want to find ways to work through all the broadcast windows. We’ve always invested in the material.’

Andrews joined wic six years ago after being a partner with the entertainment practice of accounting firm of kpmg. One of his key clients was WIC Western International Communications and the controlling Griffiths family. They ultimately made him an offer to join wic that he couldn’t refuse. Today, he’s left the world of high finance to handle relationship-building with writers, producers and directors and the stewardship of wic’s programming goals.

That programming challenge, though, is getting tougher with wic’s expansion, the need for international partners and increasing competition.

With the expected approval of its acquisition of Montreal English-language station cfcf-tv plus its existing pay-tv Superchannel and video-on-demand through its subsidiary Allarcom Pay Television and the September launch of specialty channel teletoon, wic is becoming a more powerful broadcaster with greater national presence and a lot of time to fill. The company, with cfcf, has over-the-air signals in the six largest English-language markets in Canada.

Programming that can support all of those broadcast venues is, therefore, what Andrews is looking for most.

For instance, Donkey Kong Country, for which wic is a minority owner with Nelvana and Canal +’s Medialab, is a 3D animated series for kids that will premier on cartoon channel teletoon and eventually make its way to free tv. wic has also licensed Vancouver-made animated series Nilus the Sandman (Delaney & Friends Productions) and Kleo the Misfit Unicorn (Gordon Stanfield Animation).

Taking a stake in these animated projects in advance of getting the teletoon green light last year was a risk but has helped wic get a leg up in better synchronizing its development slate with its programming needs, says Andrews.

wic’s programming agenda is also focused on more international collaborations which help to diversify wic’s programming portfolio and also increase the scope of its relationship with producers and its participation in world rights. Once again, Donkey Kong Country is paving the way on these fronts.

wic has also licensed mgm’s Stargate and is investing heavily in securing the Canadian rights to u.s. shows, a strategy that is spurred by uncertainty about wic’s role in ctv’s ownership, fragmentation in the market and increasing competition from Global and Baton.

Also on the international front, wic has invested in a sexy pay-tv anthology series of 13 half-hours called Strangers that airs on hbo and is shot in Paris.

While it secures a more national presence, wic is starting to expand from its Western Canadian roots. Andrews is confident no other broadcaster has invested more in Western Canadian production companies and shows ­ such as Forefront’s Madison. And that will continue, he says, though the product should have international sales appeal.