Since Rogers Telefund for interim financing first appeared on the scene in 1980, the number of private funds from across Canada has grown to about 20. Most are national funds and range in size from $850,000 for Fundy Cable to mid-sized funds like the Maclean Hunter Television Fund, to $47 million this year collected from subscriber fees and administered by the recently established Cable Production Fund. Several private funds are broadcast-related, including those created by CanWest Global, Baton, and Allarcom’s Superchannel.

Many private funds are completely or partially dedicated to specialized or ‘niche’ funding. For example, the Foundation to Underwrite New Drama’s script development program, which was set up almost 10 years ago by TMN-The Movie Network and Astral Communications, continues to focus its support on Canadian movie scripts, as Cogeco does for scripts for dramatic television series.

Other specialized funds include those created by Shaw Communications and Owl/Family Channel dedicated to children’s programming and Rogers’ newest fund dedicated to documentaries.

A major point to remember is that for the most part these private funds were created and designed to be complementary and supplementary to the various federal and provincial public sector ‘core’ funding programs.

Obviously, the situation could change significantly. There have been continued major cuts to the federal agencies, and in the case of the Ontario Film Development Corporation, an almost complete freeze. Further cuts, and a possible realignment, and even elimination, of various federal film and television funding agencies are looming.

In general, many private funds are experiencing more demand on their resources and financing requests are for higher amounts. The cpf has already committed its available funds to the end of February 1996. fund, for example, recently doubled the available monies for its script development program.

Also, several private funds have had to be more accommodating and flexible in guideline interpretation to facilitate producers caught up in the ofdc freeze and reduced government funding. Even so, several projects have had to be delayed or canceled because the financing shortfall was just too great to fill.

Basically, it is a wait-and-see situation until the ultimate fate of the ofdc and other public film funding agencies is determined. When the boards of directors and heads of the various private funds reassess the situation, no doubt some changes will need to be made. But in all likelihood, less funding will be available to the film and television industry.

Particularly vulnerable areas appear to be lower budget theatrical features, Canadian adult primetime dramatic series, and documentaries.

At a time when documentaries have finally achieved regularly scheduled primetime slots with broadcasters and specialty services, unfortunately, critical funding sources like the ofdc, Telefilm Canada and the National Film Board are being reduced and possibly eliminated.

As well, recoupment becomes a more important goal for most funds, including the private ones, as we try to make the best possible use of existing resources besieged by greater demand. For feature filmmakers relatively new to the field, obtaining the necessary financing, and at the same time being able to guarantee a certain level of recoupment to various investors, are very big hurdles.

The crtc, in its determination of the type of any new funds to be created as part of any new dbs/dth licences, will, no doubt, be examining the changed public-sector funding environment and the existing private funds.

As well, the heads of the private funds have formed an ad hoc committee to address areas of common interest, including related concerns of our respective client bases. It is currently cochaired by Andra Sheffer and Gerri Cook and we would welcome client feedback.

wendy mackeigan is chairperson of the Foundation to Underwrite New Drama.