The Other Side of the Fence

by Maureen Parker

The CBC: Looking for the Up-Side

Slawko Klymkiw is the executive director of television network programming at the CBC–meaning he’s the one responsible for selecting and scheduling all network shows. Klymkiw and WGC executive director Maureen Parker recently sat down to talk about the state of the CBC, as well as the Corp’s relationship with writers.

A few years ago, the CBC scaled back on its hours of dramatic programming because it believed it stood a better chance at increasing its audience with MOWs, miniseries and six-packs–rather than dramatic series. Has the strategy worked?
The CBC has met audience goals in that 50 percent of its programs have attracted more than a million viewers. And those programs that didn’t get good ratings had a powerful message. Not everything is about numbers. The CBC makes some programs because they are of public value–things you should do–and if the CBC doesn’t tell those stories, no one else will.

To get more numbers we need a combination of more money, more shelf space, a more reliable and predictable CTF, and stable government funding. Other public broadcasters, like the BBC, have more resources and work in one time zone, with one language. Our programs have to look good because we are competing with US shows like CSI. Canadians are sophisticated viewers–cheaper programming won’t hold them.

So you want to produce more drama series?

Both [CBC English television head] Richard Stursberg and I want to do more drama series and long-form. But we have to get more money–or least no more cuts–and a dedicated CTF envelope. We are prepared to redirect internal monies to increase drama production, but the other two steps have to happen.

What kind of drama is the CBC looking to develop?

We are looking for programs that will differentiate us from the other broadcasters. The CBC has to be precise and directional about what it wants. Don’t just send us your best stuff–it has to be right for the CBC. Your project should create a buzz. One huge area for us is high-impact drama–miniseries, limited series (six- packs) and, in some instances, movies of the week.
The script is the heart and soul of a program. But I’m not sure that the current development process allows enough good production. Is development open enough to allow new writers in? It’s the CBC’s job is to encourage writing talent in Canada. That means working with new writers and providing opportunities for writers who have done good stuff for the CBC in the past.

CTV’s Canadian series and movies are getting excellent audience numbers, but comparatively the CBC’s ratings aren’t doing as well. Why do you think that is?

The CBC is doing well–its share of prime-time has increased over the past four years. Surveys say people value the CBC more now than they did five years ago. We’ve maintained our numbers in this age of fragmentation. You can’t compare the CBC’s commitment to Canadian content to CTV’s–we have a whole schedule of Canadian programs. The public broadcaster can’t only think of audience numbers. We must be innovative and take chances. CTV has a leg up in the numbers game, because they can use air-time on American programs to promote their Canadian shows. CTV also has the advantage of having a top-rated American show lead their schedule. You build audience momentum from the beginning of the night, and CTV can do that. That’s why we moved Coronation Street to 7:30 pm–to attract viewers, and hopefully keep them.

So if audience numbers for a program are not the sole indicator of success, what else do you consider?

Ratings are part of the mix, but a public broadcaster must also consider a program’s public value and promote regional and cultural diversity. We are also very proud of our critical acclaim–we win almost every Gemini.

It seems like advertising on CBC’s Canadian programs has decreased. Has the CBC given up on selling ad time on Canadian shows?

The CBC has reduced the amount of commercial time it sells on high-impact programs because advertisers don’t want to advertise on tough programs like Human Cargo. And advertisers shouldn’t decide what we put on air.

Any thoughts on how to increase the viability of Canadian drama?

We need a more rigorous development process in order to get the best scripts produced. We must have money on the screen and more money for promotion. One American show has more than the CBC’s entire promotion budget. The CBC should have a dedicated CTF. We have to forge new partnerships for financial reasons, but then you are always fighting for creative control.

The CBC is doing a daytime soap. Why, given that daytime soaps take years to develop an audience and rarely get good ratings?

We have to find ways to have the new voices from our urban centres reflected in our TV shows. This programming can provide a training ground for new writers, directors and
performers. It can give writers a real opportunity to learn and hone their craft and eventually move to other areas.

Why does it take the CBC so long to get back to writers about their projects? And why does it take so long to issue a writing contract?

It takes a long time to make a decision. The CBC has no guaranteed access to CTF. If you want a quick answer, it will be no. So sometimes, no answer is the better choice. That said, CBC management is currently re-examining how much time lapses before returning calls and issuing writing contracts. We will look at best practices around the rest of the world to see what happens elsewhere.

This has been a difficult financial year for the CBC, given the NHL lockout. Do you foresee any reduction in development or production as a consequence?

The NHL lockout has made it tough. The CBC has to generate income to try to mitigate loss, so when hockey comes back there will be more money for Canadian drama. There was nothing cultural about it. It was purely a business decision to put American movies on Saturday night. If there is a severe revenue reduction, the CBC will acquire more programming and produce less
original stuff.

Now that the NHL season has been cancelled, how is the CBC planning to fill the schedule time set aside for NHL playoffs?

With old inventory and acquired programming. We are not going to run the new stuff–it will be saved for next year. Next year we will be where we should be, with over 40 hours of high-impact on the network. The CBC doesn’t have the audience this year, and we want to put new programming on the air when the conditions are best for audience and promotion.