While overall international sales markets remain in decline for broadcast product, Canadian participation in the upcoming MIPTV in Cannes March 24 -28 is up – testimony to the success of the Canada Pavilion marketing strategy at foreign markets and the crucial need to maintain a presence even in the tough times.
This year, 65 Canadian production companies are en route to the French Riviera compared to 52 that participated last year, a 25% increase.

According to Lise Corriveau, Telefilm Canada’s manager, festivals & markets, there are five ways for Canadian participants to maximize their MIPTV sales experience.

Vancouver: The checkout clerk at the grocery store, the guy sitting beside you on the bus, the woman who holds the elevator door open that extra second for you – they could all be strangers, but they may also be key players in your own story.
It’s this mystery and poignancy that marks the final scene of Third World, CBC’s grand, $9.5-million miniseries about Canada’s immigration challenge. In a nondescript parking lot in Vancouver’s Coal Harbour neighborhood, Moses, a Burundian refugee and parking lot attendant, makes change for Helen, a Canadian aid worker just back from Africa and driver of a compact car adorned with lefty propaganda.

Vancouver: Post-production companies, local animators and foreign service producers got the goodies in British Columbia’s 2003/04 budget announced Feb. 18 as new tax-credit additions made their way to the local financing arsenals.

Vancouver: If 2003 is a year of redemption for the woebegone Vancouver production sector, the credit will be due to American feature films and the fading impacts of would-be strikes and terrorist attacks in 2001.
Either in front of the camera or close to it, Elf (New Line), La La Wood (Gold Circle), Miracle (Disney), Paycheck (Paramount), I, Robot (Fox), An Unfinished Life (Miramax), Chronicles of Riddick (Universal), Scooby Too (Warner Bros.), Scary Movie 3 (Miramax) and Connie and Carla Do LA (Spyglass) represent $500 million in production budgets, give or take.

Vancouver: After four years of successful business in Vancouver, Toronto-based Dufferin Gate Productions is closing its B.C. operation and leaving its lucrative Showtime Networks service production work with Dufferin Gate’s former West Coast vice-president.

Canada’s broadcasting system is adequately diversified to reflect and reach our ethnic communities and financial viability is improving, says the CRTC in a new 40-market benchmark survey.

Vancouver: The West Coast often ranks high on the list of the United Nation’s best places to live. Now Vancouver is topping the list of locations for indie filmmakers, according to the third annual ranking by L.A.-based MovieMaker Magazine. Toronto rates second, beating other locations such as New York and Los Angeles.

Vancouver: Perhaps Tarzan’s jungle yodel will roust up a few more pilots for Vancouver, which so far has few TV hopefuls confirmed this year, but apparently lots of interest.
Director/producer David Nutter (The X-Files, Dark Angel, Smallville) is once again behind a camera in Vancouver for production of the one-hour WB Network pilot of Tarzan (working title).

Vancouver: An old-fashioned groundbreaking Jan. 22 kicked off construction on what will become the new-age nerve centre for domestic film and television producers in Vancouver.

Vancouver: Voted one of the 50 Canadians to watch in 2003 by Macleans magazine in January, writer/producer Chris Haddock has sold the proposed series Street Boss to CBS.
The premise of the one-hour pilot, to be shot during pilot season this March if casting can be arranged to the network’s satisfaction, is about an FBI ‘handler’ who manages, hires, trains and keeps tabs on undercover agents – potentially internationally.

They don’t call it a merger for legal reasons, but Film Finances Canada and The Completion Guarantors are joining forces this week, leaving Canada with only one production completion bonding company.
Since 9/11 and the financial boondoggles of companies like Enron, the surety category has been in dramatic flux, causing some insurance carriers to cease their participation in the film business.