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ALIVE and KICKING a Cultural Response from Manitoba Filmmakers

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ALIVE and KICKING a Cultural Response from Manitoba Filmmakers APPLtBOT ALIVE AND KICKING A cultural response from Manitoba 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 Canada. 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 Vancouver - 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. Winnipeg 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.
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