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Telefilm Canada
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Achievements
Building audiences
  • Box office results for 2010
    • Box office results
    • Box office analysis
      of Canadian films
    • Market share
    • Independent box office
      for 2010
    • Number of films released
  • The multichannel consumer
  • What Canadians
    are watching now
    • Moving forward: a focus
      on stimulating demand
  • A diverse portfolio of projects
    • Keeping up with Canadian movie-goers
    • Strengthening Canada's
      cultural fabric
    • Commitments by region
      and language
  • Canada's awards
    • From the festival circuit
      to the Oscars®
    • Special screenings
      from Ottawa to Shanghai
    • Golden Box Office Award
      & the Guichet d'or

    Box office results for 20101

    Strategic objective
    Greater number of Canadians enjoy distinctive Canadian films


    Key performance indicator

    Market share of Canadian box office revenue

    Target

    5%

    2008-2009 results

    2.9%

    2009-2010 results

    3.3%

    2010-2011 results

    Canadian titles captured 3.1% of the overall domestic box office.

    Box office results

    This past year capped a remarkable ten years of impressive box office results for Canadian films, achieving an overall growth of 134%, which was six times higher than that of the overall market.

    Telefilm's contribution went further; an increased participation by the private sector and international partners allowed for more projects to be supported with less investment.

    Led by the Oscar-nominated films Incendies and Barney's Version, Telefilm-supported projects won 127 awards around the world.


    Top 10 Canadian films in Canada


    Title Box office 2010 ($M)
    French-language English-language Total
    Resident Evil: Afterlife 1.1 5.8 6.9
    Piché : Entre ciel et terre 3.6 0.0 3.6
    Incendies* 2.5 0.2 2.7
    Lance et compte 2.3 0.0 2.3
    Splice 0.3 1.9 2.2
    Filière 13 1.9 0.0 1.9
    Imaginarium of Dr. Parnassus 0.1 1.0 1.1
    Les sept jours du talion 1.1 0.0 1.1
    Le journal d'Aurélie Laflamme 1.1 0.0 1.1
    L'enfant prodige 0.8 0.0 0.8
    *Film still in theatres at December 31, 2010
    1All box office receipts are supplied by the Motion Picture Theatre Associations of Canada (MPTAC) on a calendar year basis, from January 1 to December 31. The receipts of films having played in more than one calendar year are ascribed to the year in which they were earned.



    By linguistic market

    Total gross box office surpassed $1 billion for the second year in a row, and grew almost 3% from 2009 to 2010. However, the total gross box office for Canadian films dipped almost 4%.


    Total gross box office


    2009 2010 Difference
    ($M)
    French-language market 144.7 150.1 3.8%
    English-language market 862.2 886.0 2.8%
    Total Market 1,006.9 1,036.1 2.9%
    Source: MPTAC, figures are rounded.

    In the independent film market2, Canadian films in the English-language market are an exception with an increase of $5.3 million in box-office earnings in one year, a 78% increase. Foreign films in English saw a decrease of $19 million. In the French-language independent film market, Canadian films experienced a decrease of $6.6 million or close to 25% while foreign films retreated by $1.6 million or almost 8%.

    Gross box office – independent films


    2009 2010 Difference
    ($M)
    Canadian Films 26.7 20.1 -24.7%
    Foreign films 21.6 20.0 -7.6%
    French-language market 48.3 40.1 -17.1%
    Canadian Films 6.8 12.1 77.8%
    Foreign films 130.2 111.2 -14.6%
    English-language market 137.0 123.3 -10.0%
    Canadian Films 33.6 32.3 -3.9%
    Foreign films 151.8 131.2 -13.6%
    Total market 185.3 163.4 -11.8%
    Source: MPTAC, figures are rounded.
    2Films produced outside of major U.S. studios.

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    Box office analysis of Canadian films

    Box office trend over ten years


    2001 2010 Difference
    ($M)
    All films 855.0 1,036.1 21.2%
    Independent market 133.6 163.4 22.3%
    Canadian films 13.8 32.3 134.1%
    Source: MPTAC, figures are rounded and box office is measured in current dollars.

    A look back over ten years of box office results provides an interesting perspective. Total box office has grown by 21.2% while independent film box office has increased about the same. However, Canadian film box office has surpassed both these categories with explosive growth of 134% – over six times higher than the overall market.

    Total gross box office for Canadian films was down by 3.9% in 2010 compared to 2009; one interesting statistic is the change in box office results by language. French-language box office dropped almost 25% while English-language box office rose over 75%.

    This statistic illustrates the huge impact that one extremely successful film can have on annual box office results. In 2009, De père en flic powered the French-language market with a $10.7M box office, while the highest-grossing French-language film of 2010 was Piché : Entre ciel et terre at $3.6M. The English-language market had the opposite experience. In 2010, Resident Evil: Afterlife grossed $6.9M while the highest take of 2009 was $3.0M for Trailer Park Boys: Countdown to Liquor Day. Considering both languages, the top four Canadian films earned almost half of the box office for all Canadian films in 2010.

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    Market share

    Market share of Independent Film


    Market share of Independant FilmMarket share of Independant Film

    Again in 2010, American films dominated the market with an astounding 92.9% share. Total market share for Canadian films has hovered around 3% for each of the past four years.

    2010 Market share French-language English-language Total
    Canadian films 13.4% 1.4% 3.1%
    Foreign films 6.7% 3.5% 4.0%
    U.S. films 79.9% 95.1% 92.9%
    Total 100.0% 100.0% 100.0%
    Source: MPTAC

    Within the independent film market, Canadian films can and do compete with a more robust 20% share.

    Independent film market French-language English-language Total
    Canadian films 50.2% 9.8% 19.7%
    Foreign films 23.4% 20.8% 21.5%
    U.S. films 26.4% 69.3% 58.8%
    Total 100.0% 100.0% 100.0%
    Source: MPTAC, figures are rounded.

    In fact, Canadian films in the French-language segment dominate the independent film market with a 50% share. Even in the English-language segment, Canadian films increased their market share substantially year-over-year – from 5.0% in 2009 to almost 10% in 2010.

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    Independent box office in 2010

    In the independent market, Canada managed to place two films in the top 10 grossing films for 2010, compared to only one in 2009.

    Top 10 Independent films in Canada


    Title Box office 2010 ($M)
    French-language English-language Total
    Grown Ups 1.5 14.0 15.5
    The Expendables 1.7 11.6 13.3
    Dear John 1.0 6.6 7.6
    Resident Evil: Afterlife 1.1 5.8 6.9
    Cats and Dogs: The Revenge of Kitty Galore 0.9 3.8 4.8
    The Switch 0.2 3.8 4.0
    The American 0.3 3.6 3.9
    Vampires Suck 0.9 2.8 3.7
    Piché : Entre ciel et terre 3.6 0.0 3.6
    The Last Exorcism 0.5 2.9 3.4
    Source: MPTAC, figures are rounded.
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    Number of films released

    Breakdown of new titles released in 2010


    Breakdown of new titles released in 2010Breakdown of new titles released in 2010 Source: MPTAC

    By number, Canadian films represented close to 20% of 467 new titles released in Canadian commercial theatres in 2010, and occupied 5.5% of Canadian screens.

    Out of 92 Canadian films released in 2010, the CFFF contributed financial production support to 53. CFFF-supported films released in 2010 accounted for 71% of total Canadian box office.

    53 Canadian films funded by the CFFF


    10½
    2 fois une femme
    A l'origine d'un cri
    A Shine of Rainbows
    Altitude
    Barney's Version
    Cabotins
    Control Alt Delete
    Cooking with Stella
    Curling
    Defendor
    Everywhere
    Faith, Fraud, and Minimum Wage
    Filière 13
    Force of Nature: The David Suzuki Movie
    Fubar 2
    Gravytrain
    Grown Up Movie Star
    Gunless
    High Life
    Hugh Hefner: Playboy, Activist and Rebel
    Incendies
    Krach
    La dernière fugue
    Lance et compte
    L'appât
    Le baiser du barbu
    Le journal d'Aurélie Laflamme
    Le poil de la bête
    L'enfant prodige
    Les sept jours du talion
    Leslie, My Name is Evil
    Mesrine : l'instinct de mort
    Mr. Nobody
    Oscar et la dame rose
    Pax Americana
    Piché : Entre ciel et terre
    Reel Injun
    Reste avec moi
    Romaine par moins 30
    Route 132
    Score: A Hockey Musical
    Simon Konianski
    Sortie 67
    Splice
    The Coca-Cola Case
    The Trotsky
    The Wild Hunt
    This Movie is Broken
    Trigger
    Trois temps après la mort d'Anna
    Tromper le silence
    Year of the Carnivore
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  • The multichannel consumer

    According to Tony Gunnarson, "digital delivery has proven to be a game-changer in the entertainment arts. Ten years ago, consumers worldwide spent roughly the same amount on music and video across all platforms and formats. Since then, the traditional music industry business model has been revolutionized by the shift from physical formats to digital delivery." 3 Independent artists now have direct access to their consumers and can completely bypass the traditional recording industry model.

    That same shift to digital delivery is gathering momentum in the audiovisual industry. Consumer spending on video was still 88% physical in 2010, but several viable alternatives exist. Premium video-on-demand (VOD) services recently launched by the big studios can showcase feature films in homes just 60 days after their theatrical release, reducing the cinema window by half and undermining the DVD market. The market has been simultaneously exploiting alternative distribution channels like Netflix and Redbox.

    These new service models underscore the industry's challenge to distribute content profitably online. But that's not the only challenge. Effectively tracking online consumption habits has become complex given the fragmentation of downloading and streaming options – legal and otherwise.

    This is a challenge that affects both Telefilm and the industry. How can success be accurately measured across all of these platforms? Over the past decade, Telefilm has tracked commercial indicators such as box office receipts, revenues and sales. However, a well-rounded view of success also includes other cultural and industry indicators. This is one of the driving forces behind Telefilm's plan to develop a broader measure of success for the Canadian audiovisual industry.

    3 .Tony Gunnarson, "TV and physical media still drive entertainment spending", Screen Digest, March 15, 2011. Return to top

  • What Canadians are watching now

    2010 Canadian box office and Canadian titles released


    What Canadians are watching nowWhat Canadians are watching now

    Canadian moviegoers appreciate a wide range of film genres and their preferences show in the way they spend their money. Together, science-fiction, action/adventure, animation and comedy account for 69% of total Canadian box office.

    To meet this market demand for diversity, movie theatres provide their audiences with a wide variety of film genres. Historically, as is also highlighted in the above table, Canadian filmmakers have produced two dominant genres – drama and documentary. Still, it is clear that box office success in 2010 of genre films such as Splice and Les Sept jours du talion demonstrates the high level of interest of Canadian viewers and the potential for success in reaching those audiences. That is why portfolio diversification is an important objective of the organization for moving toward a better alignment with Canadians' preferences.

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    Moving forward: a focus on stimulating demand

    Canadian box office from 2001 to 2009


    Canadian box office from 2001 to 2009Canadian box office from 2001 to 2009

    Number of films shown in Canadian movie theatres from 2001 to 2009


    Number of films shown in Canadian movie theatres from 2001 to 2009Number of films shown in Canadian movie theatres from 2001 to 2009
    *Figures are rounded

    Statistics show that from 2001 to 2009, Hollywood films' share of the Canadian box office was 89%.

    Canada's audiovisual industry produces world-class content but must continue to make adjustments to enter the next major phase of its development. The industry must balance its historic focus on production with an equally robust approach to ensuring that its productions stimulate audience demand. Telefilm and the industry are in agreement on this point.

    Telefilm's new corporate plan makes stimulating audience demand a priority. Telefilm intends to focus a significant part of its energy on promoting Canadian talent and products through various events and distribution channels, ensuring the presence of Canadian content on all platforms.

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  • A diverse portfolio of projects

    Strategic objective
    Portfolio diversification: finance a diverse portfolio of projects


    Key performance indicator

    Diversification by genre, budget, language, region and cultural diversity of content

    Target

    Increase the number of genres represented in portfolio and better distribute commitments across different genres

    2008-2009 results

    Genre diversity in English-language production has increased

    French-language production became less diverse by genre

    2009-2010 results

    Genre diversity increased in both English-language and French-language production

    2010-2011 results

    With drama dominating 57% of both language markets, genre diversity weakened in 2010-2011

    Strategic objective
    Provide opportunities to advance the careers of visible minorities,
    official languages minority and Aboriginal professionals


    Key performance indicator

    Levels of resources committed to initiatives that promote professional development within culturally diverse communities

    Target

    Maintain or increase the level of investments

    2008-2009 results

    Financing was increased by $2.5 million, and new professional development initiatives were launched

    2009-2010 results

    Levels of Telefilm investment were generally maintained

    2010-2011 results

    Telefilm's commitments rose from 7% to over 10% of all funding to multicultural and aboriginal projects, while official language funding returned to normative levels


    Keeping up with Canadian moviegoers

    When Canadians go to the movies, they most often choose to see science-fiction, action/adventure, animation or comedy. Telefilm and our clients are working to build audiences by expanding the range of genres to more accurately match consumer preferences.

    Five-year trend analysis

    Telefilm has increased support for different genres, such as Westerns, musicals and romantic comedies. Action/adventure and comedy are on the rise, especially in the French-language market.

    In 2010-2011, dramas received an almost 57% share of funding for both linguistic markets. Comedy and horror/thriller also took a significant share of English-language films, while comedy captured almost a third of all French-language films. Mystery/crime/police also received some new support in the French-language industry. We are also working with the industry to achieve greater diversification in the project pipeline. That is why we invest in specialized training such as Telefilm Canada Features Comedy Lab.

    Telefilm Canada Features Comedy Lab

    The Telefilm Canada Features Comedy Lab is a Canadian Film Centre program first launched in 2009, and presented in collaboration with Just For Laughs. Chaired by internationally acclaimed comedic actor Eugene Levy, the Comedy Lab aims to develop Canadian comedies that are critically acclaimed and commercially successful.

    The three-month course takes experienced Canadian feature film producers, their writer/director teams and comedy scripts, and pairs them with the best comedic minds in the world. The creatively rich inaugural comedy lab in 2009 has resulted in the making of Servitude from Buck Productions and Victory Man Productions, to be released in Canada by Maple Pictures.

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    Strengthening Canada's cultural fabric

    Multicultural & Aboriginal: Telefilm's overall commitments

    Multicultural & Aboriginal: Telefilm's overall commitmentsMulticultural & Aboriginal: Telefilm's overall commitments

    Source: Telefilm's database

    The audience appeal of multicultural storytelling is undeniable. In 2010-2011, Telefilm committed over 10% of all funding to multicultural and Aboriginal projects. That includes $0.4M in development funding to 22 Aboriginal projects across Canada, an amount roughly the same as 2009-2010. Telefilm also funded 34 projects with strong multicultural elements.

    Among the projects Telefilm has proudly supported:

    • The 11th edition of ReelWorld Film Festival that showcases international works reflecting positive images from the Aboriginal, Asian, Black, Latino, Middle Eastern, South Asian and other communities. In 2011, two-thirds of the films screened at the festival were Canadian.
    • Deepa Mehta's next feature film based on Salman Rushdie's international bestseller Midnight's Children.
    • Breakaway, a Rob Lieberman film with Rob Lowe, Russell Peters and up and coming Canadian actor Vinay Virmani, is about a young man who defies his Sikh father by casting aside religious traditions to pursue his dream of playing professional hockey.
    • Lost Journey, directed by Ant Horasanli, presents the story of a young Iranian man who grapples with cultural assimilation in Toronto.

    Official languages: Telefilm's overall commitments

    Official languages: Telefilm's overall commitmentsOfficial languages: Telefilm's overall commitments

    Source: Telefilm's database

    Another important element reflecting diversity is language. In 2010-2011, Telefilm's support of French-language projects and events outside Quebec returned to normal levels. Before 2008-2009, these commitments also included funding from the Department of Canadian Heritage through its Interdepartmental Partnership with the Official-Language Communities program.

    This year also marked the production of Canada's first Franco-Ontarian comedy. La Sacrée, written by Daniel Marchildon and directed by Dominic Desjardins, is the first French-language feature financed by Telefilm through the Official-Languages Activities Programs' Écrire au long and the production component initiatives. The film is scheduled for release in the fall of 2011. Commitments to English-language projects and initiatives inside Quebec rose slightly in 2010-2011.

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    Commitments by region and language

    Regional Breakdown

    Regional Breakdown of CFFF Commitments


    Regional Breakdown of CFFF CommitmentsRegional Breakdown of CFFF Commitments (%)

    Source: Telefilm's database – Development, Production and Post-Production 2006-2011

    Diversification is also about regional stories. Each year, Telefilm invests in some fifty films at the production stage of which only about ten represent investments above $1.5M per film. These investments are the result of a rigorous selection process that puts in competition the very best projects from all regions of Canada. With such a small number of films accounting for a significant portion of investments made by Telefilm, the regional breakdown of Telefilm's investments will fluctuate considerably from year to year.

    Although Quebec has remained the province with the most production commitments (some English-language and almost 100% of French-language productions) over the last five years, Ontario has steadily built its share to near parity in 2010-2011. A strong performance in Ontario is attributed to ten productions last fiscal year, which received $1M+ in Telefilm support.

    As indicated in the graph above, B.C., the Prairies and the Territories saw their share of total financing drop over the past five years. This decrease is explained by the investment in seven films from these regions over the first three years of this five-year period compared to only one over the last two years.

    Funding from other government sources, including provincial tax credits and agencies, has been stable over the past five years with very slight fluctuations, representing between 32% and 35% of total financing.


    Regional commitments by language


    Regional commitments by languageRegional commitments by language

    Source: Telefilm's database – Production 2006-2011

    Roughly a third of Telefilm's total commitments go to French-language productions. Over the past five years, dollars for English-language productions have tended to be concentrated in Ontario. Ontario has been receiving more commitments mainly because its client base is large, and also because many big-budget projects have been coming from Ontario over the past five years – including those produced by companies with performance envelopes.

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  • Canada's awards

    Strategic objective
    Festivals and awards: Canadian cultural products are promoted to audiences in Canada and abroad

    Key performance indicator

    Prizes earned at major Canadian and international festivals

    Target

    Maintain or increase current levels of awards won

    2008-2009 results

    119 awards won

    2009-2010 results

    107 awards won

    2010-2011 results

    127 awards won – more than each of the past five years – including two Oscar® nominations


    From the festival circuit to the Oscars®

    2010 was a very special year for Canada in the realm of feature film awards. Canadian projects garnered 127 awards – more than each of the past five years. Here are some highlights:

    • Incendies and Barney's Version received 52 awards and prizes in 18 festivals and events.
    • Incendies and Barney's Version were nominated at the Oscars®, joining nine other Oscar-nominated, CFFF-supported projects since 2006-2007.
    • Xavier Dolan was nominated for a César Award (Best Foreign Film) for Les amours imaginaires.

    At Cannes:

    • ZedCrew, directed by Noah Pink, was presented in the 42nd Directors' Fortnight.
    • Xavier Dolan's second feature film Les amours imaginaires was presented at the Official Selection in the Un Certain Regard category.

    Top Canadian filmmakers were also selected to serve on festival juries:

    • Guy Maddin at the Berlin International Film Festival.
    • Atom Egoyan, Director and President of the Cinéfondation and Short Film Jury at Cannes.
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    Special screenings from Ottawa to Shanghai

    Special screenings of Gunless, Incendies, and Barney's Version in Ottawa, and Afghan Luke in Halifax gave Telefilm an opportunity to promote the successes of our filmmakers to parliamentarians and Canadian audiences. The screenings also delivered a message to the private sector about financing and partnering with successful Canadian filmmakers.

    The Child Prodigy, a film written and directed by Luc Dionne, was also screened in Shanghai during Expo 2010.

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    Golden Box Office Award & the Guichet d'or

    In 2010-2011, Telefilm introduced two awards to recognize the previous year's highest grossing Canadian feature films. The Golden Box Office Award and the Guichet d'or support the domestic box office achievements of Canadian directors and screenwriters. For 2009:

    • Trailer Park Boys: Countdown to Liquor Day received the Golden Box Office Award.
    • De père en flic received the Guichet d'or.

    These awards shine a light on Canada's commercial successes in feature film, and associate Telefilm with box office achievement in the industry.

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Telefilm Canada — 2010-2011 Annual Report

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