APPLtBOT

ALIVE AND KICKING A cultural response from filmmakers

The look ol Western animation - a scene from the 10-minute film Bob Dog by prairie animators. Credo Group

The signatories to this document have As far as A-H is concerned, there are no artists are no less valuable for their and hardy as its components may be, several things in common - none of us regional communities. Well, A-H is distance from RoUing Stone, the New the eco-system of the tundra is delicate are full-time employees of the National wrong. We are here and kicking, and we York Review of Books and MOMA. We and fragile. The slightest disturbance Film Board, the CBC, or any other federal hope by this document to bring that fact are a healthy, spirited and determined reverberates, threatening to destroy the or provincial agenc> All of us make our to your attention and assist you in creat­ group and we deeply resent being entire system. The harshness of the living or are attempting to make our ing a film policy tobenefit all of . ignored. enyironraent makes every element living from the film industry in Mani­ We are not unaccustomed to this. To We will tell you a bit about our dependent for its very existence on toba. .And all are disappointed in the be a have-not province far from the industry. We'll tell you something of every other. So it is with us. Those things film recommendations of the Federal Golden Triangle is to be constantly at what we think of the various federal which nourish us can't be separated Cultural Policy Review Committee. war with centralism. Because of this we agencies involved in our industry, and from each other. Damage to one can Apart from that we are as diverse as get a reputation as professional whiners, we'll tell you what we think of the mean disaster for all. The production of any film community must be to deserve as those who would not be happy with­ specific recommendations of the A-H commercials and industrials is not the name : directors, producers, writers, out a cause for Ottawa- or "Toronto- Report as it reflects on us. enough, alone, to sustain a film industry editors, camera, sound and lighting bashing. But for us, this constant refrain The eco-system of the arts here. Nor is the National Film Board. Nor people, makeup and wardrobe, produc­ is not fun ; it is not even interesting. It is Perhaps the best metaphor for the film contract work for government. Certain­ tion people, animators, dramatists, tedious and annoying, and it is time - industry on the prairies is the eco­ ly not the CBC. And yet it is difficult to and energy - consuming. The settlers documentarists, lab people, recording system of the tundra. To an observer visualize a viable industry with any one spend so much of their time on the studio people, advertising people, gra­ from the lush green south (in our meta­ battlements, they can't get a decent of these missing. It is only by juggling all phics people. Liberals, Conservatives, phor, Toronto-Ottawa-Montreall it may of these and settUng for incomes gener­ crop in the ground. We do it because seem a drab and barren place with long New Democrats, the politically radical we must. We want to live here. We want ally well below the national average and the apoUtical. That we can come cold winters and little vegetation. Handy that we have survived, and built a com­ to make films. We must make a living. So for gouging out natural resources as together at all is a tribute to the Apple- we fight, yet again. munity that is sophisticated and accom­ baum-Hebert commission's achieve­ needed and marginally important as a plished. ment in alienafing all of us - without We reject the argument that there can market. Not a region of much other interest. But to a resident of this tundra We are a young community. With a regard to race, sex, political alignment only be one or two film-producing cen­ couple of exceptions, none of us was or professional training. tres in Canada. Manitoba's theatre com­ who lives in it and from it, it is rich, varied, complex and precious. Its re­ here, making films, in 1970. In those No government could be expected to munity is no less legitimate for being far wards may be subtler than those to be days, the lab service was elementary, make responsible decisions on the basis from Broadway or the West End. Our dance communit\ is no less significant found in Lotusland, but they are no less the sound recording and mixing facilities of this report - at least, not decisions important or real to us. were crude. There were no independent that would treat fairly the needs and to us for not being New York, London or Moscow. Our musicians, writers and camera or sound people, or editors, or welfare of regional film communities. As any naturalist will tell you, tough directors. Today, there are full-service

24/CinemaCanada- May 1983 SZPJXBXRT lab and sound facilities in 16 mm with the other producing arts, ignored us. Council, it is the only government agency town, to Toronto or - as they plans for expansion to 35 mm. And the And their recommendations can do little always were in the past. market they service is almost all in in the history of Canadian film to take its but harm us. Beyond direct film production the Manitoba and Saskatchewan. regional responsibilities seriously and to back Ihem up with money. In 1975-76 NFB has also involved itself in the com­ A few years ago, any ad agency or The National Film Board the Board opened its production office munity through assistance to the film corporation looking for a slick film pro­ We in the prairies are in general very here and has had a profound impact co-ops here and in Saskatcheu'an, by duct had to go to Toronto or Vancouver. strong supporters of the National Film ever since. It did not, as the CBC did, supporting development work-shops Today we are producing commercials Board, whether or not we benefit direct­ simply establish a large in-house branch and sending filmmakers to seminars in 16, 35 and videotape with budgets in ly by working for it. This doesn't mean plant here staffed by Montreal-oriented and festivals. There is not a member of excess of $5D,000, whose quality will we support the status-quo. As a national production people. Rather it moved into this community who has not benefitted, stand up to any on the continent. Educa­ institution, apart from its regional pro­ the community and began to work with directly or indirectly, by the Film Board's tional films produced independently in gram, the Board is top-heavy, sluggish, it, restricting staff to a few essential and presence. have established a profitable, complacent, inefficient and apparently highly productive positions. In the last The A-H contention that "the NFB no self-sustaining market in the west. Our out of touch with the times - in short, three years the Board has spent almost longer occupies a central position in animators are winning awards in Otta­ badly in need of radical change. But the $1.5 million in this community, making Canadian film... but it is independent wa, Zagreb, Cracow, Cannes, and other changes suggested by A-H show a com­ it the single largest market for indepen­ production which now attracts many of international festivals. So are our live- plete failure to grasp what is good about dent personnel and facilities. This injec­ the skilled filmmakers who once were action filmmakers. But more than that, the Board and would certainly complete tion of money resonates far beyond those drawn to-the NFB" (p. 257) simply does we are producing films in and from the the job of self-destruction that years of who receive it directly. It provides an not hold in the experience of the Prairie part of the world that is our home. We inertia have begun. The faults of the economic prop for craftspeople and Region. It does retain a central position are the first generation of prairie people institution as a whole must not obscure facilities which are then available for here and it is a "nurturing presence" who can say that. We are in the process its virtues, both at Montreal headquar­ employment by commercial or other (p. 257). To eliminate that presence or of building a genuine prairie cinema. ters and in the regions. government producers. Without the severely restrict it would have the same The A-H Report, while recognizing the Our support for the NFB stems from NFB, many of these people would have effect on prairie filmmaking as removal regional importance and legitimacy of the fact that, along with the Canada been forced out of business or out of of the NFB in the ISSO's would have had

Award-winning films from Manitoba

Blowhard by* Brad Caslor and Chris Hinton The Pedlar by Allan Kroeker - Golden Sheaf Award, Best Animated Film - Yorkton International Short Film - Award of Merit - AMTEC, 1982. and Video Festival, 1979. - Special Commendation for Animation Techniques - Rio de Janeiro Inter­ The Performer (L'Artiste) by Norma Bailey national Scientific Film Festival, 1979. - Special Jury Award, Cannes International Film Festival, 1980. % Capital by Allan Kroeker Petroleum's Progress by Tom Fletcher - Golden Sheaf Award, Best Performance (Ed McNamara) - Yorkton, 1981. - Red Ribbon, 23rd American Film Festival, New York, 1981. - Award of Excellence - AMTEC Media Festival, Winnipeg, 1982. Pigbird by Richard Condie The Catch by Allan Kroeker - First Prize, Category C - International Animation Festival, Ottawa, 1982. — Golden Sheaf Award, Best Video Production - Yorkton, 1980. - First Prize, Educational Film - World Festival of Animation Films, Zagreb, — Best Drama, Can-Pro Awards, Ottawa, 1982. Yugoslavia, 1982. - Bijou, Animation Category - Canadian Film and Television Awards, 1982. Chasing the Eclipse by Norma Bailey and Ian Elkin - Golden Sheaf Award, Best Documentary - Yorkton, 1980. Priory by Mark Dolgoy - Red Ribbon - 22nd American Film Festival, New York, 1980. The Curse of Ponsonby Hall by Vic Cowie and Vic Davies - Golden Sheaf Award, Best Video Production, Best Children's Production - Room Four Memory by Perry Stratychuk Yorkton, 1982. - Bronze Medal - American International Film Festival, Salt Lake City, Utah, 1981. The Dreamer by John Paizs - Best Award Animated Short - London Film Festival, 1978. Slide, Flip, Turn by Kim Johnston - Award of Merit - AMTEC, 1982. Getting Started by Richard Condie - Bijou, Best Animation - Canadian Short Film Festival, Toronto, 1980. The Strongest Man in the World by Halya Kuchmij - Special Jury Award, Best Sound Effects - 4th World Festival of Animation, - Bijou, Best Documentary Film under 30 Minutes - Canadian Film and Zagreb, Yugoslavia, 1980. Television Awards, Toronto, 1981. - First Prize, Category B - International Animation Festival, Espenho, Portugal, - Golden Sheaf Award, Best Producer - Yorkton, 1981. 1980. - Diploma of Merit, Tampere International Film Festival, Finland, 1981. Ted Baryiuk's Grocery by John Pasklevich and Mike Mirus - Fipresci Jury Award, Best Animation - Internationa! Short Film Festival, - Official Canadian Entry - Cannes International Film FesHval, 1982. Cracow, Poland, 1981. - Bijou, Outstanding Animation - Canadian Short Film Festival, Toronto, 1981. Wood Mountain Poems by Harvey Spak - Best Production under 30 Minutes- Banff International Festival of Films for God Is Not A Fish Inspector by Allan Kroeker Television, 1980. - Best Film - Northwest Film Seminar Competition, Seattle, 1980. - Golden Sheaf Award, Best Screenplay - Yorkton, 1981. Beginnings by Tom Fletcher - Silver plaque at the Chicago Internafional Film Festival, Best documentary. It's A Hobby For Harvey by Barry Lank - 1980 Yorkton International Film Festival, Best Cinematography. - Chris Plaque, Best Film, Columbus International Short Film Festival, 1982. Children of the Gael-Wayne Finucan Productions Joe's Gym by Elise Swerhone ' - New York Iris Award ~ Best Foreign Film - Award of Merit - AMTEC, 1982. - Milan Film Festival - Special Year of the Child Award. - Can Pro Award. John Law and the Mississippi Bubble by Richard Condie - Best Animation, Tampere International Film Festival, Finland, 1980. Assiniboia Downs-Wayne Finucan Productions - Aclra Awards - Best TV Commercial. Loved, Honoured, and Bruised by Gail Singer - Certificate of Merit - Cork Film Festival, Ireland, 1981. A Last Farewell-Film Factoiy Productions - Can Pro - 1980 Performance Arts Award. The New Mayor by Ian Elkin, Bob Lower, Derek Mazur - Golden Sheaf Award, Best Public Affairs Film - Yorkton, 1979. Hay St. Germaine Pilot-Film Factory Productions - Can Pro - 1979 Enlerlainmenl Series Award. Nose and Tina by Norma Bailey - Golden Sheaf Awards, Best Cinematography, Best Film - Yorkton, 1981. - Bijou Awards, Outstanding Direction, Outstanding Film under 30 Minutes, Canadian Short Film and TV Festival, Toronto, 1981.

May 1983-Cinema Canada/25 APPLtBOTL regional components, each with its own someday come to truly represent the character corresponding to the region it regional nature of this country. serves. We believe that an attempt to shift the NFB's role in the regions to The either the CBC or the CFDC would be Like the NFB, Canada Council has taken doomed to failure. We believe that its regional responsibilities seriously. history makes this so apparent that we We won't deal with it here because the would regard any move to do so as , of which many of empty political fence-mending, and we us are members, is its largest beneficiary would oppose it. and is submitting its own brief to Francis We suggest, with respect to the NFB, Fox. Suffice it to say that for the most that the regional program, as its most part our experiences with the CC have successful current program, be enlarged been positive and we strongly support and expanded and given a leading role is continuing contribution to our com­ in the future development of the Board. munity. That is, the regions should be made autonomous that they might lead the The CFDC and the CCA foundering centre rather than being The Canadian Film Development Cor­ tethered by its bureaucratic bulk. We poration and the Capital Cost Allowance believe that headquarters should be have had a pretty limited effect on our kepi strong as a production centre, but community as a whole, but for a few of that its new role, whatever else it con­ us, their effect has been significant. tains, should have built into it a respon­ Several films have been made here siveness to regional needs. using the provisions of the CCA and we would like to see the program continue. m all of Canada - to quote Applebaum The CBC The CFDC, by its very nature is structured have worked hard and sacrificed plenty agam "II is impossible to imagine the The critical point to understand about around Toronto and Montreal. If it is to get where we are, and there is much histoiy ol filmmaking in Canada without the role of the CBC in the independent enlarged, as it probably should be, we we still want to do. We take ourselves the initial, nurturing presence of the community is thai CBC Winnipeg is not don't expect to see much benefit from it. seriously as filmmakers and producers, NFB" (p. 257). and has never been a part of the Winni­ Still, we support it as an important as business people, crafts-people and Our support goes beyond the need for peg community except incidentally. It instrument in developing a national artists. We expect others to take us seri­ money and beyond the regional office. has always been a part of CBC Toronto, industry. Even if centred in Toronto, a ously, too. And we intend to do what­ Montreal production headquarters has serving that body's needs without regard strong Canadian feature film industry ever we must to ensure that we are not been central to the success of the re­ to its effect on Manitoba's film commu­ must benefit all Canadians. ignored. gional experiment. First of all, it was a nity. We are, for them, an employment Conclusions headquarters decision to establish the and facilities pool of convenience. Once We could go on listing the pros and cons Norma Bailey, producer/director. Lara regions in the form they now exist - in a while they will reach out to us if of the activities of various individuals Mazur, film editor. Kim Johnston, proof that not a// vision has disappeared need demands it or if there is extra and departments ad nauseam. This producer/director. Mike Mirus, direc­ from the NFB. Second, Montreal has money kicking around. But if it suits would be as boring to write as it would tor/sound editor. Vonnie Von Helmolt, provided invaluable opportunities for their purposes to undermine our posi­ be to read, and we don't want to get lost production manager. Erna Buffie, film us to work with some of the most tion by duplicating our equipment, in a sea of paper and ink. The main research/script development. Charles accomplished filmmakers in Canada, withdrawing their support or even com­ points are easy to sum up. A. Lavack, assistant camera/camera and to call upon their resources to peting with us in the production of • The Applebaum-H^bert Report operator, Allan Kroeker, writer/direc­ augment our own. The filmmakers at commercials, they do not hesitate. Their committed an error and an injustice tor. Richard Condie, director/anima­ headquarters are one of this industry's only real and lasting contribution has in ignoring regional film communities. tor. Alan Pakarnyk, animator. Wendy most valuable resources, in spite of the been the production of some skilled • The A-H Report, while correctly Liu, scriptwriter/researcher. Leon current problems of their organization. people who have since left the CBC and criticizing the NFB for its lack of vision, Johnson, sound recordist/producer/ Without a strong central production set up on their own, to share the ups- makes recommendations that will only director. Victor Dobchuk, producer/ facility, the regional experience would and-downs with the rest of us. Those finish the job of destroying it. In parti­ director. Cynthia Warner, continuity/ be narrow and truncated. people retain a certain relationship cular it ignores the excellent beginnings make-up. , animator. It is not surprising that A-H missed with the CBC that brings them a degree the regional program has made. of work, and this is good as far as il goes. Barry Lank, producer/director. Jan- this point in its discussion of the NFB. It • The CBC should be forced to diver­ But il does not go far enough. carlo Markiw, writer/director. Keith is consistent with their failure to deal sify its production through the regions C. Long, animator. James Edward anywhere with regional film produc­ Yet we would not like to see the CBC's and its regional offices should be en­ Ackerman, sound recordist/director. tion, and by implication to discount it as production scattered to private pro­ couraged to integrate themselves with John Bluethner, writer/actor/director. irrelevant. It is not enough for them to ducers. Thai, in the long run, would the film communities around them. Neil Mclnnes, animator. Douglas say that we didn't come out to address benefit only Toronto/Montreal and • The Canada Council's film program Davidson, filmmaker. John Paskie- their hearings - people rarely prepare would increase centralization. We would should be continued and expanded. vich, photographer. Larry Kurnarsky, briefs on those things they consider like to see more money earmarked for • The CFDC and the CCA should be progressive and relatively satisfying, at director/writer. Derek Mazur, pro­ regional production through the CBC expanded, but not at the expense of the ducer/director. Kim Forrest, produc­ least not until those things are threatened. and we would like to see them make a NFB, the CBC or the Canada Council. The information was available if they tion artist. Joan Scott, production long-term commitment to involve them­ Finally, we don't intend to get lost in had wanted to see it. We suspect that manager. Brad Caslor, animator. Ste­ selves with the communities they live the shuffle, as everyone scrambles for their film advisors suffered from the ven Rosenberg, graphic designer. and work in. That way, they might position in the emerging film policy. We selective myopia thai is the chronic Randa Stewart, production manager. disease of central Canada - you see Devan Towers, production accountant what you want to see. Frank Raven, lighting electrician. Bob Lower, director/editor. Elise Swer­ To reduce the NFB to an academic institution where useful production of hone, director/editor. David Dueck, films is not the prime mover is a silly, producer/director. Kathleen Beach, unimaginative suggestion. A teaching producer. Ann Poten, production institution, a nurturing body, yes, but secretary. Chris D. McPherson, sound one in which the. teachers are actively engineer. Shirley Schritt, production engaged in production. The best leach­ accountant. Jon B. Stevens, dubbing ing institutions are those where teaching technician. Wayne Finucan, producer. is done by, or at least led b> active C.P. Omis, film lab technician. Carol producers - English departmenls ivith Lawrence, film lab technician. Sharon writers, art departmenls with artists, Mclvor, film lab technician. Connie physics departments iiith research Bortnick, producer/production man­ physicists, film schools with active film­ ager. Norman Bortnick, producer/ makers. director. Janice Taylor, production assistant. Clive W. Perry, sound engi­ Changes must be made in the NFB but they must be made in the role of its film neer. Sheryll Histed, production man­ production, not by the elimination of it. ager. Julie Eccles, production secre­ The NFB is the oni> national film- tary. Scott Collins, artist. Charles producing institution which has an Speidel, graphic designer. Kenn Per­ Internal structure that relates well and kins, producer/director. Trevor easily to its regional responsibilities. It Odgers, producer/cinematographer. is not in conflict with the general running Christina L. McCaughey, producer. of the NFB to have strong, independent Jonathan Kacki, editor. Ian Elkin, cinematographer. • 26/Cinema Canada-May 1983