OTTAWA – Some of Canada’s most successful content creators are concerned the federal government’s rules around Canadian content may not be in the best interests of the industry. They say regulations might actually inhibit broadcasters from taking risks on innovative content.
The last session of IIC Canada’s conference in Ottawa last week delved into some of the key issues affecting the development of successful Canadian content. As Raja Khanna, CEO of television and digital at Blue Ant Media, pointed out “we’re tackling the future of Canadian content” and the role of government of involvement.
What are the key ingredients of a successful Canadian content sector? It requires excellent and exportable content, maintaining the ownership of the programming, the intellectual property (IP), in Canada, and having globally competitive companies because creating content only for Canada isn’t good enough, he explained.
If these are the objectives of the Canadian content sector, then what government supports, if any, are needed?
Mark Montefiore, executive producer at New Metric Media, noted that it’s not so much supports from the federal government but rather creating a level playing field. He spoke about a drama project that secured 25% of the financing from an international distributor and without it the project would not have gone forward.
“There was a particular role with a cultural background and of a certain age that we just didn’t have in Canada who also checked off all the boxes – name recognition internationally, available, culturally appropriate for this role, and interested to work on the project,” he said.
To get that international actor, the company needed to some flexibility from the Canada Media Fund. The company had to get pre-approval from the CMF to get that cast member from outside of Canada.
It’s not only the New Metric project that has run into this situation. Many others have too and without that international participation it could mean the difference between 5% and 25% international financing.
By being able to secure the international actor for the role, “actually helped reduce our ask from the government. It reduced the amount of money we needed from the broadcaster and it allowed our broadcaster to take risks on us,” said Montefiore.
While not saying it explicitly, Montefiore appeared to be indicating that if government rules prevent content companies from undertaking creative deal making, Canadian content could find itself on the wrong end of critical financing.
“They’re worried that the taxpayers are going to complain about the content that’s being made.” – Laura Perlmutter, First Love Films
Government funding of Canadian programming could have the perverse impact of lowering the bar of excellence, according to Laura Perlmutter, a producer First Love Films. She noted that may result in Canadian broadcasters wanting to avoid taking program risks.
“They’re worried that the taxpayers are going to complain about the content that’s being made,” and that in essence depresses risk taking in broadcast television, she added.
Pureplay online video providers see Canadian content rules and the way Canadian programming gets funded as antiquated and even crazy.
Ashkan Karbasfrooshan, CEO at popular Youtube channel WatchMojo said it doesn’t make sense that some producers consider their films as a success when they cost more to make than they earn in revenue. Producers spend $10 million to make a film, get $1 million in revenue and hope the federal government will chip in some money to cover the shortfall.
“Doesn’t make sense,” he said.
