With war between America and Iraq a near-certainty, Canada’s national networks have, for several weeks now, been mobilizing to cover a second conflict in the Persian Gulf. Covering the war will be very expensive for all three nets – not just because reporters on the scene need insurance, hazmat training, satellite feeds, hotels, translators, and god-knows-what-else – but because all will go commercial free for at least the first 24 to 48 hours of the conflict, leaving a costly, Iraq-shaped dent in their monthly ad revenues.

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.

Friends in high places may be a bonus, but today what Canadian producers really need to finance homegrown content are friends in other provinces. For better or worse, the interprovincial coproduction model has become an essential element of indigenous production over the last seven to eight years, meaning increased production in regional centres, more money per project, but less for individual producers.

At last year’s American Film Market, Montreal-based Equinox acquired the indie hit of the year, but this year the Canadian distributor was hoping to sell it.

It probably won’t oust Daredevil or Chicago from the box office Top 10 anytime soon, but David Cronenberg’s Spider bowed to strong numbers in the U.S. and Canada following its Feb. 28 debut. Coming out of that weekend, the arty thriller with Ralph Fiennes and Miranda Richardson brought in a per-screen average of US$11,087, besting all of the U.S. wide releases. (Daredevil did US$4,099 and Chicago US$4,311.)

Award-winning sound editor and designer Jane Tattersall has left her position as president and CEO of Toronto picture and audio post house Tattersall Casablanca, citing the desire to return to a more hands-on role in her craft. March 7 was Tattersall’s last day at the company.

Film and TV producer Jon Slan and Scientific Games CEO Lorne Weil have launched Slanted Wheel Entertainment, a Toronto-based company whose sole focus is the adaptation of literary works into films for the big and small screens.

For the third consecutive year, CBC has scored an extra $60 million from the Ministry of Canadian Heritage. Sheila Copps, the heritage minister, confirmed in Toronto earlier this month that the funding, for special cultural programming, would be tacked on to the $997.5 million already allotted for the network in the recent federal budget.

Montreal: Quebec Finance Minister Pauline Marois’ March 11 budget allocates an additional $20 million in discretionary program funding for the film and A/V sector – bringing total 2003-04 credits to an unprecedented $36.9 million.

Predictions of a significant decline in media spending have been rampant in the U.S. and U.K. in recent weeks as world attention has focused on the prelude to war playing out against Iraq.

The Bell Broadcast and New Media Fund recently celebrated its fifth anniversary.

Buffalo Gal Pictures, part of the Minds Eye Entertainment group of companies, came away with seven wins at this year’s Blizzard Awards, hosted by the Manitoba Motion Picture Industry March 3 in celebration of the best in Manitoba film and television production.

Open Door Pitch

TVA Films reports Roman Polanski’s Palme d’Or winning film The Pianist pulled in $194,069 on 66 screens over the March 7-9 weekend, bringing its total take in Canada, where it had a limited opening Dec. 25, to $2.86 million. Released in the U.S. by Focus Features, The Pianist had a total North American gross of $16.8 million as of March 9. The film is up for seven Oscar nominations incuding best picture, best director for Polanski and best actor for Adrien Brody.

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