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Pay-Tv Special Report Wikrr^^nr PAY-TV SPECIAL REPORT by Lucie Hall ed A Case for the Independents. We agent because they don'tknowwhatrm Pay-TV in Canada : It promises so much like they're waking up and their eyes asked about her eicperience with inde­ talking about and I could take them to and yet, Uke so many other Canadian are like saucers and they're saying, pendent producers coming to First the cleaners. And then we've licenced adventures, is riddled with controversy "Yeah, Yeah, if I can get a sale here and a Choice. them. and fraught with doubts. sale there, I can actually do it I can "My advice to independent producers However, a recent survey by Cinema actually make my product I' " who need to learn more skills is that Canada of a dozen key players on the In an age of fragmented markets, "There are three levels of independent they should attach themselves to an scene, reveals the emergence of a new more and more eichibitionsare required producers that I deal with. The first experienced producer who has been kind of entrepreneurial spirit among to deliver more product with less mo­ level is the very experienced producer. around for a while producing success­ independant producers, pay services ney. What results is a new spirit of co­ We have here in Canada some very fully, who, in fact, have core companies and, of all people, the established net- operation among every level of produ­ good producers like Denis Heroux. He in terms of the Canadian scene. These woks. cer and eichibitor. Daily precedents are has $35 million dollars worth of pre-sold experienced producers can give the As Joan Schafer, director of program­ being made as people, once rivals, now programming to offer me for next year, kind of financial assistance, creative ming at First Choice said, "It's interest­ join forces to make deals- thafs Louisiana, Blood of Others and and deal-wise assistance that just ing because I can see by the level of There arena rules anymore, it seems. things like that. Then you move over to wasn't available when I was working in people that come into my office; it's No rules other than sell the product. Harold Greenberg who has got a ton of it the business trying to learn it. Or they as well. Then you have the expatriates just wouldn't talk to you. I mean literally, like Norman Jewison coming home and they just wouldn't even talk to you. Bui presenting me with projects. This first now a lot of these producers in these kind of producer I have no trouble with core companies want to become studios at all. They say they want a two-year and they've got big dreams and they're The pay services window, they want it exclusively; they willing to help other independents with, know what else they want and bang: We less experience. And so what we've got in the series, "Here Come the Seven­ make a deal. developing here is a grooming system JOAN SCHAFER, ties." From there she worked with CITY- "Then there's the second line of pro­ with mentors... and it's very positive. It's terrific." vice-president, director/program­ TV and produced over 9,000 shows ducers who know quite a bit and are ming. First Choice. until she left to finance feature films. capable of handUng the negotiations All along Schafer lobbied heavily on once I tell them how to negotiate. I tell Schafer started her 15-year career in behalf of the independent producers, them that a window* is a period of play JON SIAN, TV by working with Hobel-Leiterman and co-produced a film with CFTA call­ and that they have to look after the chairman and executive vice- ACTRA payments and that residuals are president, Super Channel their responsibility and that if they don't produce the promised show on the A former university lecturer with a PhD agreed date, then I will never deal with in Literature, Slan began producing them again. But I feel that they are feature films in 1977. His most recent capable of delivering. And often they projects were Improper Channels wfW use a line of agents, lawyers and interim Alan Arkin and Threshold with DonaM financiers who represent them and the Sutherland. With his wide and varied producer does the talking with the eicperience as a filmmaker and prodvc- agent. And then when we meet we end er, he is overseeing programming sna up with everybody happy. productions for the Super Channeln^ "And then there's the third level of work. He is also the second-largest producers... This is by far the largest shareholder of Ontario Super Channel group. They are people who just don't know how to do it. They are usually the "Super Channel has two centers: one in first ones in the door. They are very Toronto; one in Edmonton. But we'W inexperienced but very keen and eager separate organizations. Sometimes inde­ and they have energy. And they're hun­ pendent producers will see me for a gry, very hungry. And I gave a lot of project and, if I don't like it, they'll go'" development money to these people, Edmonton and see if they like it, which about $400,000 worth. And we've also is possible. Often as well, producers helped them along by working with come to see me from Edmonton witha them and helping them with their drafts project and we'll like it here. I meanW^ and budgets. And when it comes time to make the deal, I have to tell them to go Lucie Hall is an independent telens'l" and get themselves a lawyer and an producer working out of Toronto. is/Cinema Canada-January 1983 V~til - T V are truly separate organizations. We're both called Super Charmel but the own­ ership is different The Alberta organiza­ tion is owned 100% by Dr. AU&rd. And he The networks is also the largest shareholder of the On­ tario Super Channel He owns 46%. I'm IVAN FECAN, II nil mill. Ill til Hi I' " •('/'' the second largest shareholder, I own wHiimil nil filfthiii »/' •"' !'• lliri'<;ilil' of iiioffri 11x1 /.iitt^iiimi null- 'I -III ii.'' -' 26%, and there are four other share­ i:ii(: I'v. holders as well. III llll', i:lllllll htltlllKh ' '/ ii,trl 1/ /•. •• . in iiil'/iiiii !•' '/nil 111)1/ '.'tl It ", '.' ;/•»/ "We have been accused by certain '/''li.v lltnv IID.-iililH) Hfi,., ,,(;lllll l»i /;r.n/ll,l!ii IMili M>H,ll(n('/<(/ f> ''•- / ••'•'> }"' people of being a mini-national pay liuiin ill Angii.-il, imz. Illn liniili: iiiiiii service because we have agreed with III lllllii i.hi((il->-. lit iiiniif /iiiw •••'' 'f> 'rt,e. dale i.s to rcviliilly,!; Ilw loult «/ (/)(' Ill// ))hiy>i/ pi(ll)i(« M(, n wii'il- rniti'.ti, the other regionals (including Star Chan­ nrlMork in un cm oj'ili'i lining JiinilM. nel) to buy product, mainly foreign, with yilllVn fill N' lllK-'l tll») 'l«;»l V/fi> l<:t»y /'/»» Among Pecan's nmny ii\tit<in.ilhlllllrs i:ilM I'.liliJ. tllli .;(lll',lln( l,l,l,ll'll '/I yPH them. This does not mean in any way, is the requirement thai lie bt: involved |jio(iiiiiy, AIKI litl'n f>i": it ' if ''"" f'iH shape or form that we are a national pay in all discussions with independent player puiH In $7(,(l,()l)fl or iivoii n iiiiHu.u service. What it does mean is that we producers who wish to discuss pay-TV dollars into your |jini><:r1y, yoii i.iin h>-:l have combined our buying strength with the network. they'll want the liiiad of llio «lii'li« and when we deal with a foreign studio, at least a vice-pro.sidont witting in 'I'l which is helpful because we'll be able to "I don't see the role of the CBC changing your casting and script developmnnt. buy less expensively. And the less money with the advent of pay-TV. We're a And they're going to want something for we leave south of the border, the more general audience public broadcaster that. Some American executive might we'll have to invest in Canadian produc­ with commercials. Thafs not going to decide that the show would be better tions. As well, we've had enough meet­ va/, general manager of Toronto free change with pay coining in. The way shot in Cleveland, for example, instead ings about areas of production with Star theatre and administrative director of that we perceive pay is there are benefits of Winnipeg. When you're in that situa­ Channel and ray western associates to Toronto's Theatre Passe Muraille. He I hope pay will bring to the independent tion where the movie is really close to know that they are certain things that has also served as controller of.Satur- sector. I hope, everybody hopes, that being made and you really wfant it bad, we'll buy in Toronto that won't play in day Night, Canada's oldest rational pay will channel fresh money into that it's awfully easy to make compromises Halifax and Alberta..; tastes and viewing literary magazine. sector and I think that will benefit the at the time. So the key is not to get patterns are different around the countiy CBC as well as anybody else in, the yourself into that situation by trying to and so we'll be programming for each "C Channel is going to be a very vital country in the business.
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