1. Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES Prepared for the Documentary Policy Advisory Group

2. Canadian Documentaries: Economic Indicators: Recoupment Sales Branding Jobs Reaching Audiences: Feature Film Non-Theatrical Television

3. Economic Indicators

4. Recoupment The Children & Youth genre has the highest recoupment rate Documentaries have the lowest recoupment as a percentage of commitments Recoupment as a Percentage of Commitments by Genre Fiscals 2000-2001 to 2003-2004 9.4% 11.0% 17.6% Documentary Drama Variety & Per. Arts Children & Youth A Proxy for Market Performance

5. Recoupment The on-going series sub-format has the highest recoupment rate with almost 11 percent of the commitment amount Mini-series have the lowest recoupment rate Fiscals 1995-1996 to 2001-2002 3.2% 4.6% 10.9% Mini-seriesOne-offSeries Recoupment as a Percentage of Commitments by Genre A Proxy for Market Performance

6. Sales Canadian Sales 30% Foreign Sales 70% Total Sales for 35 Projects Total sales of 35 documentary projects supported by Telefilm and the NFB* after financing were almost $5 million 30% of the sales after financing took place in the Canadian market and 70% in international markets The most profitable Canadian documentaries have export capacity. *Most profitable documentaries from 1998-1999

7. Sales $157,584 $97,649 English Projects French Projects Average Sales per Project by Language of Production Of the 35 NFB and Telefilm projects, twenty-five were produced in English and ten were produced in French English-language projects had about 61% higher dollar-sales- per-project than the French- language productions

8. Sales Total Canadian sales come from the market segments of television, institutional, home video and theatres. The most important market segment is television representing 51% of all sales, followed by 41% for the institutional market and home video (direct sales to consumers or rentals) accounting for the balance (7%). The receipts from the theatrical market are marginal 51.4% 41.3% 7.0% 0.3% TVInstitutionalHome VideoTheatre Canadian Sales by Market Segment (Overall)

9. Sales For English-language productions, the market segment distribution is similar to the total with only slightly lower television representation and slightly higher representation in the institutional segment. 49.1% 44.1% 6.5% 0.3% TVInstitutionalHome VideoTheatre Canadian Sales by Market Segment (English-Language Productions)

10. Sales French-language productions have a higher distribution in the television segment than English-language productions and in home video, but have much smaller representation in institutional. 59.0% 32.6% 8.3% 0.1% TVInstitutionalHome VideoTheatre Canadian Sales by Market Segment (French-Language Production)

11. Sales When total sales are broken down to the respective parts, PRE-SALES and SALES, the series sub-format proves to have the highest share of pre- sales (almost 70%) whereas one-off documentaries have the lowest (just over a quarter). Canadian Pre-Sales vs. Sales By Sub-format 25.1% 49.9% 65.5% 74.9% 50.1% 34.5% ONE-OFF MINI-SERIES SERIES Pre-Sales Sales

12. TV 82.2% Institutional 17.8% TV 34.8% Institutional 54.0% Home Video 10.7% Theatres 0.4% Canadian Sales by Market Segment Telefilm Canada The National Film Board

13. Sales 38.6% 32.6% 18.8% 61.4% 67.4% 81.3% ONE-OFF MINI-SERIES SERIES Canadian Foreign One-off documentaries get the highest share of their sales from the Canadian market On-going documentaries get a more significant part of their sales from foreign markets Canadian vs. Foreign Sales by Documentary Sub-format

14. Branding Range of Rates (30 sec spot) for Canadian Documentaries Compared to other programs $360.00 $21,620.00 $38,970.00 $76,990.00 Documentaries - High end of range Corner Gas Law & Order SVU American Idol Finale Range of Costs per Thousand for Canadian Documentaries Compared to other programs $12.69 $40.32 $57.40 Documentaries – High end of range CSI The OC An analysis of rates for 30 second spots as well as cost-per- thousands among major Canadian network show that they are valued much lower than other popular prime time programs

15. Branding Canadian specialty services place a higher premium on the brand of documentary programming. Of a sub-set of relevant specialty services, 21 percent of their advertising revenue is generated by documentary. Only three percent is generated on the conventional national networks. 24.49% 3% Specialty Services Conventional Networks Portion of Advertising Revenue generated by documentary programming

16. Jobs The production of Canadian documentaries generated approximately 12,900 full-time equivalent jobs in 2003-2004 The figures for 2003-2004 show a decrease from the previous year in terms of indirect jobs but the general trend shows that documentary production in Canada continues to be an important engine for the creation of Canadian jobs Full Time Equivalent Jobs 2,700 3,500 4,500 6,700 7,400 8,800 5,400 5,000 4,300 5,600 7,200 4,200 4,600 5,500 8,600 7,900 7,000 9,100 11,700 10,900 12,000 14,300 14,000 12,900 96-9797-9898-9999-0000-0101-0202-0303-04 Direct Indirect Total

17. Audiences and Economic Indicators SPOTLIGHT ON CANADIAN DOCUMENTARIES Prepared for the Documentary Policy Advisory Group

18. Reaching Audiences

19. Feature Film Trends Documentary Box Office ($000s) 0 5,000 10,000 15,000 20,000 25,000 30,000 200220032004 No doubt due to the popularity of Michael Moore’s Fahrenheit 9/11, an extreme jump in feature documentary box office occurred in 2004 2004 saw $25 million in box office receipts for documentaries. This represents an astounding 428% increase. More documentary films were released in 2004 than in 2002 and 2003 combined Number of Documentary Films Released 0 10 20 30 40 50 60 70 Documentary Box Office & Number of Releases

20. Feature Film Trends Average Feature Film Shelf Life (in weeks) 0 2 4 6 8 10 12 14 200220032004 DocumentariesFiction Feature documentaries are remaining in theatres a lot longer than they use to Feature documentaries are increasing their screen longevity at the same time, fiction films are proving to have a shorter shelf life.

21. Feature Film Canadian Documentaries Similar to overall documentary growth, Canadian-made feature documentaries exhibited a startling growth in box office for 2004 In 2004, Canadian documentaries accounted for over $2 million dollars in box office sales compared to $145,000 for the previous year Canadian Documentary Box Office ($000s) 0 500 1000 1500 2000 2500 200220032004

22. Feature Film Canadian Documentaries Canadian productions accounted for about 8 percent of all documentary box office receipts Canadian feature documentaries are twice as successful in their respective market as Canadian fiction films are. Canadian Feature Film Share By Genre -2004 8% ($2,113,585) 4% ($39,286,854) Canadian share of all Feature Documentaries Canadian share of all Fiction Feature Films

23. Feature Film The Top Five Documentaries in Canada Overall: 1.Fahrenheit 9 / 11 – Released 2004 – Total Box Office: $18,242,989 2.Bowling For Columbine – Released 2002 – Total Box Office: $5,244,872 3.Super Size Me – Released 2004 – Total Box Office: $2,064,476 4.The Corporation – Released 2004 – Total Box Office: $1,511,731 5.NASCAR: The Imax Experience – Released 2004 – Total Box Office: $1,225,625 Fahrenheit 911 was the highest grossing feature documentary of all time The Corporation is a Canadian-produced documentary. It was the number one Canadian documentary as well as the second highest grossing Canadian-made film overall for 2004 The highest grossing French-language Canadian documentary was Ce Qu’il Reste de Nous. It took seventh place overall with over $300,000 at the box office

24. Non-Theatrical Colleges & Universities Schools Libraries Non-Theatrical Markets– Up to the Early 1990s- Generalized

25. Non-Theatrical Educational & Specialty TV Social Services Agencies Community Associations Multimedia Health Home Video Business & Industry Non-theatrical Market – Early 1990s to Present - Specialised

26. Non-Theatrical Diversity and reach of the non-theatrical sector Diverse audiences are being reached at home, at the workplace and in the educational milieu Example: The National Film Board Libraries - over the last five years - almost 1 million documentaries in loans and rentals Educational milieu- almost 400,000 documentaries sold More research is required to measure this consumption in the future

27. Television Share of all TV Hours Tuned Foreign- Produced 52% Canadian- Produced 48% Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year Canadians consumed over 14 billion hours of television during the first half of the 2003-2004 broadcast season Of all that viewing, a slim majority (52%) was to foreign programming Overview

28. Television Trends In both English and French markets, there have been significant increases in documentary programming AVAILABLILITY on television Despite the increase in availability, consumption has been relatively flat – no increase at all in the English market, and a slight increase in the French market English-Language Documentary Programming Supply vs. Viewing (hours/week/person) SupplyViewing French-Language 1996/971998/992000/012002/03 1996/971998/992000/012002/03 Source: CBC Research/Nielsen Media 1996-2003 Primetime

29. Television Trends There has been a steady growth in availability of Canadian documentaries in both languages. Except for an anomalous drop in 1996-97 in the French market, viewing levels increased along with supply. Source: CBC Research/Nielsen Media 1996-2003 All Day Canadian share figure applied to hours/week/person figures English-Language Canadian Documentary Programming Supply vs. Viewing (hours/week/person) SupplyViewing French-Language 1996/971998/992000/012002/03 1996/971998/992000/012002/03

30. Television Recent Audience Indicators Canadians consumed about 784 million hours of documentary programming during the first half of the 2003-2004 broadcast season This accounts for about six percent of all tuning Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year Share of All TV Hours ( Week 1-26 2003—2004 Season ) All Others 94% Docs 6%

31. Television Share of All TV Hours Tuned to Documentaries ( Week 1-26 2003—2004 Season ) English 68% French 32% Due to the higher population and the larger selection of services, television consumption overall tends to be about twice to two-thirds higher for the English market than French The English market accounts for 68% of all documentary viewing compared to 32% for the French market – this indicates that the language markets have an equal interest in documentaries Recent Audience Indicators Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

32. Television Share of Documentary Programming Hours tuned ( Week 1-26 2003—2004 Season ) Canadian 61% Foreign 39% Recent Audience Indicators Although overall foreign television programming is consumed more than Canadian-produced programming, in the case of documentary programming television viewers prefer home-grown products Canadian-produced documentaries account for more than two-thirds of all documentary tuning on television Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year

33. Television Recent Audience Indicators The on-going series sub-format accounts for the majority of hours tuned to documentary programming However, the distribution of TUNING almost exactly matches the distribution of AVAILABILITY which suggests that the sub-formats are equally appealing to Canadians Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year Sub-Format Share of all Viewing to Canadian Documentary Programming Miniseries 4% One off 14% Series 82%

34. Television Recent Audience Indicators CUMULATIVELY, on-going series account for the most viewing, but one-offs and mini-series tend to have higher SINGLE-VIEW AUDIENCES.The top five single-airing audiences for documentaries were all one-offs or mini-series. Source: BBM National Meter Service, Weeks 1-26, 2003-2004 Broadcast Year