7 April, 2010 – Toronto, long a movie stand-in for New York, has led Ontario to an impressive rebound in the cutthroat film and television sector, but a strong Canadian dollar could dull the region’s competitive edge.

The industry spent nearly C$1 billion ($970 million) in Ontario last year, up 41 percent from 2008 and the highest level since 2002, according to the Ontario Media Development Corp, an agency of the provincial government.

The rise reflected a hefty new provincial credit that gives foreign moviemakers a 25 percent tax break on a range of production costs, up from 25 percent on only eligible labor costs previously.

But filmmakers say a stronger Canadian dollar could offset some of the gains, as the currency climbs toward parity with its U.S. counterpart.

“The Canadian dollar almost being at par historically has been pretty tough on the film business,” Canadian producer Miles Dale told Reuters. “I think it needs to stay south of par for the business not to be affected.”

The Canadian dollar is currently worth around C$1.03 to the U.S. dollar, or 97 U.S. cents, down from a peak in November 2007, when it took $1.10 to buy a Canadian dollar.

A decade ago, the Canadian dollar was worth as little as 64 U.S. cents, and the Ontario industry thrived because of its cheap costs in U.S. dollar terms.

Dale is currently in pre-production of “The Thing”, a prequel to director John Carpenter’s classic 1980s sci-fi horror film, for Universal Pictures, a unit of General Electric Co. In it, Ontario is a stand-in for Antarctica. “The Thing” will also film for a couple of days in British Columbia.

In movies produced by Dale, Ontario has also stood in for Los Angeles, New York, Washington, and Detroit.

“The Thing” has a budget of about $35 million and Dale said the expanded tax credit will save him up to $8 million in total.

“It’s all here. The equipment’s here, the trucks are here, the people are here, the extras are here…I will typically look to do it here first and try to figure out a reason not to do it here if you have to,” he said.

The credit also benefits Ontario’s post-production, visual effects and animation industries, where output also rose last year, even for productions not shot in the province.

“The package of incentives that Ontario is able to offer today is helping to offset the high Canadian dollar,” said Karen Thorne-Stone, head of the provincial government’s film development group, who noted that Ontario offers a combination of talent, tax credits, diverse locations and infrastructure.

“We’re no longer perceived as just being a discount location or a cheap location. We are being evaluated by productions on the quality of the package and the cast and the crew and the services which we think is quite a nice change,” she said.

ONTARIO BOASTS THE WHOLE PACKAGE

Incentives for moviemakers in Toronto include a new waterfront studio, one of the biggest production complexes in North America, operated by Britain’s Pinewood Studios, which sets Ontario apart from jurisdictions, such as Louisiana, that also offer tax incentives.

“I think we’re way ahead of the game in terms of places that have tried to attract filmmakers,” said Seth Feldman, a professor of film studies at Toronto’s York University.

“Given the costs of film today and given the production is half the cost and publicity is the other half of the cost, tax credits while they lure people, I don’t think keep people.”

Feldman said the Toronto International Film Festival has also helped attract Hollywood types who have got used to doing business — and spending their downtime — in the city.

“It’s become a film town for them,” he added.

In 2009, C$272 million was spent producing foreign films and television programs in Ontario, and C$674 million on domestic movies and TV, up 114 percent and 24 percent respectively.

Ontario Film Commissioner Donna Zuchlinski said the industry still faces challenges, but the outlook for 2010 production is just as bright as last year’s.

“The film and television industry is very cyclical… there were a number of factors that contributed to the ebb, shall we say. The strength of the Canadian dollar was one,” she said, while also pointing to Hollywood labor unions trying to stop so-called “runaway” productions.

Ontario already has almost 20 productions on the roster for this year, including the films “Dream House,” starring Daniel Craig, Rachel Weisz and Naomi Watts, and “Red”, featuring Bruce Willis, Helen Mirren, Morgan Freeman and John Malkovich.

It’s also been the best U.S. pilot season in many years for Ontario, thanks to “Nikita” from Time Warner Inc’s Warner Bros, and “Breakout Kings” from News Corp’s 20th Century Fox TV.”

(Editing by Janet Guttsman)

With 93 co-productions out of 230 accredited features in 2009 (compared to 95 the previous year), the French film industry is keeping up a high level of international openness and broad diversity, for these films were co-produced with 34 countries. This is according to the report unveiled yesterday by the National Film and Moving Image Centre (CNC).

A total of €452.75m (-17.7% compared to 2008) was allocated for financing these works, which include 45 majority (-6 films) and 48 minority (+4 films) French co-productions. These are the figures.

For French initiative films (FIF), Belgium remains France’s main partner with 21 co-productions (22 in 2008), followed by Germany (eight like the previous year), Italy (down sharply from 13 to five), Canada (four), Luxembourg (three) and Switzerland (three). The 45 majority French co-productions obtained 24.2% of French investment in the 182 FIFs accredited in 2009 (i.e. €206.05m), while foreign partners provided €75.5m.

Among the 48 accredited French minority co-productions, which secured €171.2m (€39.89m in French investment and €131.32m in foreign funding), Germany emerges as the number one partner with 14 co-productions (11 in 2008). Next in line are Italy (eight like the previous year), Switzerland (shooting up from one to seven), Belgium (six compared to 13 in 2008), Portugal (from zero to six), Spain (five), Sweden (five compared to one in 2008), Canada (four), Israel (four), Denmark (three compared to one the previous year) and Hungary (three compared to one in 2008).

Five bilateral financial co-productions (without artistic or technical support from a minority co-producing country) were accredited in 2009: four with Italy (compared to ten in 2008) and one with Spain.

Finally, 29 of the 93 French co-productions accredited last year were made as part of the European Co-production Convention, involving at least three signatory countries. Seven were FIFs and 22 minority French co-productions (including 18 in which the French contribution was solely financial).

Fabien Lemercier

http://www.cineuropa.org

MuchMusic brings Canadians a  video from Young Artists For Haiti. Last month, singer/songwriter K’Naan gathered with more than 50 friends from Canada’s music community to record a new rendition of his beautifully poignant single, Wavin’ Flag. The powerful, four-minute video for this incredible single premieres on MuchMusic  www.muchmusic.com  Thursday, March 11th. at midnight.

“As a proud supporter of the Canadian music industry, MuchMusic is thrilled to showcase K’Naan’s Wavin’ Flag music video for our fans the moment it’s available,” said Brad Schwartz, Senior Vice-President and General Manager, Much MTV Group, CTV Inc. “The message of the song is universal. The collaboration by all these young artists from our musical community shows the true generosity and solidarity of the Canadian spirit.”

Dubbing themselves Young Artists for Haiti, those involved in the single include Drake, Metric’s , Jully Black, Emily Haines, Avril Lavigne, Justin Bieber, Nelly Furtado, Broken Social Scene and many more. The song was also selected as the official song of the 2010 World Cup in South Africa.

 All proceeds from the sale of the single go to Free The Children, War Child Canada, and World Vision Canada in support of their on-the-ground efforts in Haiti. To donate www.facebook.com/youngartistsforhaiti

I have watched the Oscar’s each year since I was eleven. There were films nominate in the best picture category that I never of heard of during that year at that age. But simply by watching the Oscar’s telecast each year I felt I was being educated. I remember waiting days, months or even years to watch a film that the Academy felt was worthy of such distinction. I learnt something uniquely wonderful about each nominated film and I never question why they were nominated. But this week I started to question the list of films nominated. It seems with the inclusion of 10 instead of 5 films select, the Oscar’s are beginning to lose something precious – its authority on what should compete for best picture. This year it has break from its traditions to suit the masses.

Reviewing the list of films nominated it’s clear that only four films were special and deserving the honour of being in competition. These films are “Up in the Air”, Precious, The Hurt Locker, District 9. It is my humble opinion I believe the winner will be selected from one of these 4 tiles. Each film was unique in its delivery, well directed and acted but the most important it gripped their audiences like no other film in the best picture category (with exception to A Single Man and An Education…I’ve still yet to see out of the 10 nominees)

It would be terrible of me to discount the greatest blockbuster film of all time “Avatar”…in fact I’m quite proud of Canadian James Cameron’s achievement in producing his vision and making box office history. But when it comes to balancing its creative merit its impossible not to see that Avatar was a deeply rooted colonialist story badly scripted. Its theme and characters were far from a good representation of Native people and their culture.

Right behind Avatar is another first “UP” the animated film that open the Festival de Cannes. I felt this was the most annoying animation I have ever watched and perhaps watching it in the way it was intended could only amount to 3(D) times more annoying. But the question is why nominated it twice (Best Picture & Best Animation). It just becomes a waste of a nomination. It will certainly not win Best Picture and this meant that another film could have had the glory of that nominated slot. – Yes …sadly!

Rounding out the rest is Inglorious Bastard…not Quentin’s best film but it gave us a wonderful performance by Christoph Waltz as the funny yet clever Nazi. And props should also be given to Sandra Bullock for her performance in The Blind Side which made the film a wise choice in recognition in the Best Picture category. The last two films (A Single Man and An Education)I did not see and I reverse judgment until I do – which gives me about a month before the Oscars. 

However, if I was a gambling man I would probable put my money on “The Hurt Locker”. It is an intense war film that received a small theatrical release. No pun intended but it “literally” blew me away. Director Kathryn Bigelow deserved the DGA award and I also hope on the night of the Oscar she could walk away as best director. Equally intense was the film Precious…I did my best to spread the word on both these films. Lee Daniels is great at understanding dark complex relationship where love is still at the center of it all. Daniels is now the only second black director to be nominated in Oscar history (the first John Singleton). Up in the Air and District 9 both paint a scary reality of what plagues America (lost of  jobs) and South Africa (racism/once apartheid).

Looking back in time to a slightly educated boy – age 11, my plate would have been full with 10 nominated films to watch. What lesson would I have learnt from the Oscar’s? What brilliant secret would each film hold? Honestly, it would only remind me that less is more and it’s a shame that the Oscars still haven figured this out as yet!

Telefilm Canada is currently accepting entries for the Canadian Pre-Selection Screenings in Montréal for the 63rd FESTIVAL DE CANNES, including the Official Selection (Competition, Out of Competition, Un Certain Regard), the Directors’ Fortnight and the Semaine de la Critique.

Registration deadline with Telefilm Canada : February 12, 2010

The Cannes Film Festival is the most important festival in the world: close to 40,000 accredited professionals and 4,000 journalists attended the Festival.

The Festival and the parallel sections waive their entry fees for films submitted at the Screenings in Montréal.

For further information, contact Céline Pelletier (pelletc@telefilm.gc.ca) by phone at 514 283-6363 or 1 800 567-0890.

Applications are available @ http://bit.ly/awScfb