Interlocking theme

What’s on the agenda

In the months and weeks leading up to the Banff Television Festival, the chorus of ‘Are you going to Banff?’ could be overheard at industry dos (no doubt to the dismay of some events’ organizers), the anticipation often striking a smile from even the most battle weary.

And once again the folks at Banff have been marshalling their forces to ready the stage for the 16th edition of the week-long, high-altitude, pitch-and-mingle fest.

It’s known as the relaxed oasis in a hectic circuit of international festivals and markets, a place where producers and broadcasters come to restore their tissues, talk in an informal atmosphere and get their creative juices flowing, as well as pick up corporate tips while doing the links.

While it’s designed to be a no-pressure zone on the calendar, that doesn’t mean no controversy. At the tv event where art continually meets commerce, people tend to be more candid (must be that mountain air), and the no-holds-barred attitude makes for memorable exchanges.

With an international assortment of producers, broadcasters, writers, directors, government types, distributors and actors all seeking some common ground in the Rockies – on the same panel – a lot of (vigorous) thrashing-things-out often ensues.

This year the interlocking theme of the varied lineup of events is how all the puzzle pieces will eventually fall together. The impact of converging technology will be addressed in the final seminar June 23, ‘The Impact of Converging Technologies,’ presented by the International Council.

Moderated by Norman Horowitz, this session is described as an exploration of ‘how the broadcasting industry in Canada will respond to the convergence of entertainment and telecommunications in the 21st century: in a world of interactive computer and disk technology with programs delivered by satellite, cable and phone lines, what is the future role of private and public broadcasters? What does the coming millennium hold for producers?’

Apparently quite a lot of people want to know.

Two weeks prior to the invasion of the over 1,000 delegates (compared to 883 last year) expected from around the world, festival director Jerry Ezekiel was ‘managing to keep busy.’

Fortunately, this year the festival moved from its longtime Banff Park Lodge digs to a roomier venue, the new convention center at the Banff Springs Hotel, which can handle the increased volume of seating needed in the seminar/workshop portion of the agenda.

What is a problem is the social side of the calendar. ‘We’re bursting at the seams. There are some evenings, for example awards night, which are currently sold out,’ says Ezekiel.

The existence of a wait list for a networking event is a thorn in the side of organizers, since the core philosophy of Banff is a non-exclusive social agenda. Plans are already in the works to engineer more space and ensure that next year no one will have to be excluded. However, since this is problematic given the growing numbers, varying levels of registration are being considered.

Ezekiel feels that for reasons of economics, the choice of an all-inclusive delegate package, or admission to seminars and workshops only, with the option of purchasing tickets to certain social events, might be a palatable alternative.

This year there were significantly more international delegates than previously, with large delegations from France – due in part to the Canal+ tribute (see story p. 34) – and from Korea and the u.s.

Ezekiel says that announcing the Rockie nominees at mip-tv has become a useful marketing tool, garnering attention at a place where it’s difficult to get attention, and sparking some favorable word of mouth.

The fact that the Banff Market Simulation has been making the rounds is another boost to the festival’s international profile.

Although accommodation was tight this year, no doubt exacerbated by the festival’s shift to later in June to avoid conflict with the l.a. screenings (which meant competing for beds with the tourist influx), Ezekiel says it was not as severe as rumored. However, next year the festival will be booking more blocks of rooms.

‘Our numbers just seem to be going up, up, up, and there’s no reason to believe that won’t happen again next year.’

The number of applications – 233 – for the 40 ctv fellowships also grew; 25% more emerging writers, directors and producers sought the coveted 1995 fellowship spots which cover delegate fees, travel and accommodation costs.

Given the roominess of the new venue, programmers were able to adhere to the Banff tradition of designing morning events that appeal to relatively large numbers. Afternoon sessions are more of a smorgasbord of specialized events.

The week of panels and workshops kicks off Monday, June 19 with the keynote, delivered by kid’s tv advocate Dr. Patricia Edgar, director of the Australian Children’s Television Foundation.

Edgar, a prolific author, producer and director (she’s a Rockie nominee for the children’s series Sky Trackers) speaks on the struggle to preserve national cultural independence within an increasingly global, commercial and deregulated industry, in particular, addressing the vulnerability of children’s tv.

The awards portion of the festival once again occurs at the start of the week.

This year 40 countries sent in a grand total of 668 entries which were sifted through to arrive at 70 nominated shows vying for awards in 12 categories (including two new award programming categories, information and animation) as well as special jury awards and the top prize – the Best of the Festival designation.

The jury, headed up by former Telefilm Canada executive director Pierre DesRoches, includes: Sylvie Brauns, a/v communications consultant with Paris Consultants Network; June Dromgoole (yes, wife of Banff vet Patrick), head of purchased programs at BBC Television; Ann Hodges, tv critic/columnist, The Houston Chronicle; Judith McCann, ceo South Australian Film Corp. (she’s picked winners before; as executive director of the New Zealand Film Corp. from 1990/ 94, McCann was responsible for its majority investment in Angel At My Table, Heavenly Creatures and Once Were Warriors); Shoichiro Sasaki, film prof, Bunkyo University/executive director, consultant NHK Enterprises (the former nhk executive director is a Rockie award alumnae, Sasaki won a jury award in 1990 for his tv flick The Rainbow Village).

The daily lineup includes the return of Breakfast With Laurier LaPierre, always up to the challenge of prodding his interviewees beyond their set piece.

In the sessions that follow, program content and creativity, and the business around them, are being emphasized again this year. Topics range from ‘Underwriting the New World’ and ‘Have `Toon, Will Travel: How Sophisticated has Animation Become?’ to ‘From June Cleaver to Murphy Brown.’ There are several showcases of excellence, wherein successful shows (nominees and winners) are chronicled, from financing to creative development.

And of course, the ubiquitous Banff Market Simulation, the always-lively pitching forum hosted by Pat Ferns – abetted by Patrick Dromgoole and Norman Horowitz – returns home for its traditional (or as Ezekiel calls it, ‘authentic’) engagement.

This is aggressively slotted on the morning after the night before – the Baton-sponsored Western bbq – but since it was sro last year with folks plonked down on the floor in an overflow room, it’s a safe bet that all but the most imprudent hoedowner will roust out for the signature event that has triggered numerous production deals over its first decade.

This year Banff also salutes the International Council of the National Academy of Television Arts and Sciences. Members will be featured during a few sessions, and at a Thursday evening gala dinner at the Banff Springs.

The 16th edition of the Banff Television Festival marks the last year Carrie Hunter, currently vp conference and external relations, will be working on the festival. Hunter, the festival’s founding executive director, will continue to be associated with Banff, as an honorary director of the Banff Television Foundation.