Playback proudly presents its annual report on Canadian talent. As in the past, our editorial staff has selected three candidates from each discipline of writing, directing and acting. Despite varying levels of experience, these promising artists are for the most part not yet in the public’s consciousness – and maybe not even the industry’s. But we have put our ears to the ground and come up with a list of nine individuals whom we believe are on the verge of major breakthroughs, as expressed to us by producers, casting agents, talent agents, directors, critics and educators, in addition to our own keen observations.

Vancouver: Here’s a tough lesson learned by overlooked producers applying for government funding: if your star is a marquee actor, your production will earn valuable points in the complicated Equity Investment Program grid that determines who among the applicants gets or doesn’t get Telefilm Canada production funding. If, on the other hand, your lead actor is unknown and a visible minority, your production gets nada, nichts, niente – this, despite Telefilm’s mission to promote the ethnic rainbow.
It’s the predicament in which Vancouver’s Force Four Productions finds itself as its CBC MOW Jinnah: Securities – the second MOW about an Indo-Canadian crime reporter and the precursor to a regular one-hour drama series – goes wanting for EIP funding.

Montreal: Telefilm Canada is introducing a system of ‘hurdle rates’ for its equity investments in feature films. The rates directive is intended to close the gap between performance levels for Canadian movies at the box office and the principal Canada Feature Film Fund objective of reaching 5% national market share over the next four years.
Simply put, says Telefilm’s executive director Richard Stursberg, the federal funding agency is no longer prepared to invest $1 million or more in a film if it does not stand a reasonable chance of making more than $1 million at the domestic box office.

Vancouver: The toughest job in Canadian television is not the financing or storytelling or acting or marketing. According to Vancouver creative producer Chris Haddock, the real job is much more fundamental: being able to identify and nurture genuine talent. Get that straight and the rest will follow – especially if, through a staunch sense of independence, that talent can flourish unfettered by network or studio demands.
What sounds like utter luxury for Canadian drama producers is actually essential – from Haddock’s perspective – to the domestic and international success of the genre.

A few weeks ago, some friends and I were sitting around sipping coffee and having the requisite ‘What would you do if you won the $37-million Super 7’ conversation. Among the less than creative and rarely inspiring responses, one friend claimed that before she spent anything on herself she would give 10 friends $100,000 each, present company included of course. ‘But what about the 11th?’ another friend retorted, appreciative that he would be among the chosen ones, but curious where and how she would draw that line. ‘How does friend 10 make a $100,000 and friend 11 make nothing?’ he asked. ‘How would you ever be able to live that down?’

Sextant files for bankruptcy protection

With few surprises or emerging trends, the 2002 fall TV lineups, announced in early June, reflect, for the most part, a safe and balanced approach to programming.

* Art Reitmayer has been named president and CEO of Multivan Broadcast Corp., Vancouver’s new multilingual station that will launch in 2003. Previously, he was a VP with CanWest Global Communications, a position he held after it acquired WIC Western International Communications where Reitmayer was president of WIC Television Inc.

Until federal cabinet announced June 5 that the highly contested toronto|one licence would be upheld, Drew Craig had a $35-million television operation in the broadcasting equivalent of cold storage.
But following a cabinet ruling to strike down appeals of the licence filed this spring by some of the nation’s top media outlets, the president and CEO of Calgary-based Craig Broadcast Systems is now ready to set up shop in southern Ontario.

Montreal: A revitalized National Film Board and its new senior management team recently completed a five-city Preview 2002 tour, highlighting this season’s English Program lineup of more than 40 new documentaries, animated shorts, youth programs and interactive productions originating from six production centres.

Members of Ontario’s interactive industry dominated the 2002 Canadian New Media Awards, capturing 10 of 12 prizes at a ceremony held in Toronto on May 27. Dan Fill, head of convergence initiatives at Toronto’s Decode Entertainment, was among the night’s big winners, taking home the producer of the year award. Fill’s credits include the award-winning Angela Anaconda Online, Kidtime, The Undergrads.tv and The Hoobs Online.

Pat Ferns takes exception to a reporter’s comment that there is nothing new at the 23rd annual Banff Television Festival.

Among her many roles and achievements, Trina McQueen is deputy chair of CTV and chair of the Banff Television Foundation’s board of governors. She was formerly the chair of the foundation’s board of directors, of which she’s been a member for more than 13 years. At the end of June, McQueen will be leaving CTV, where she held the position of president and COO until her resignation announcement six months ago.

Montreal: In the April 17 U.K. budget, Gordon Brown, chancellor of the exchequer, restricted the application of tax-based film relief to feature films, effectively eliminating a vital financing mechanism for U.K. television productions and coproductions.

Sandra Richmond is a partner at the Toronto law firm of McMillan Binch and a member of the firm’s KNOWlaw group.