Implementing Indigenous Screen-Based Production Protocols: An Analysis of Potential Costs
Prepared for:
Broadcasting, Copyright and Creative Marketplace Branch (BCCM),
Department of Canadian Heritage (PCH)
Prepared by:
Maria De Rosa
Marilyn Burgess
Communications MDR
503 Victoria Avenue
Westmount, Québec
H3Y 2R3
November 10, 2022
Acknowledgements
We wish to thank Kerry Swanson, Executive Director and Kristy Assu, Director of Funding Programs at the Indigenous Screen Office (ISO), as well Suzanne Keppler, Manager of Program Reporting at the Canada Media Fund (CMF) for their invaluable assistance in this study. We also wish to thank the producers and other stakeholders who shared their valuable insights and experience with us through the on-line survey and interviews.
On this page
- Acknowledgements
- Introduction
- I. An Overview of the Activities Undertaken When Applying Protocols
- II. Costs Related to Applying Protocols in Indigenous Productions
- 1. Protocols Significantly Increased Time in Development
- 2. Protocols Increased Development Budgets by Twenty-Five Per Cent or More
- 3. Producers are Using Their Fees to Cover Development Costs
- 4. Protocols Increased the Time in Production
- 5. Protocols Increased Production Budgets by Ten Percent to over 25%
- 6. Producers are Using Their Fees to Cover Production Costs
- 7. Language Revitalization is Costly to Productions
- III. Conclusion
- Annex 1: Survey Questionnaire
- Annex II: Stakeholders Interviewed
- Annex III: Analysis of Survey Findings
Alternate format
Implementing Indigenous Screen-Based Production Protocols: An Analysis of Potential Costs [PDF version - 1.00 MB]
Introduction
1. Overall Context
Protocols are “a set of rules, regulations, processes, procedures, strategies or guidelines … ways to work, communicate and collaborate and respect the Indigenous community.”Footnote 1 Protocols are central to industry practices for Indigenous productions. In 2019, ImagineNATIVE published On-Screen Protocols and Pathways: A Media Production Guide to Working with First Nations, Métis and Inuit Communities, Cultures, Concepts and Stories,Footnote 2 together with numerous accompanying tools and resources.
1.1 Objectives
Communications MDR was commissioned by Canadian Heritage to examine the potential costs associated with the undertaking of Indigenous screen-based productions that apply protocols.
The study examined costs incurred in the development and production stages of both film and video production intended for theatrical, televisual or digital platforms. The goal was to identify the marginal or extraordinary costs to projects of applying protocols (i.e., costs that would not be incurred in productions that do not involve the application of protocols).
2. Approach and Methodology
The study employed multiple lines of evidence, both qualitative and quantitative.
The consultants examined On-Screen Protocols and Pathways: A Media Production Guide to Working with First Nations, Métis and Inuit Communities, Cultures, Concepts and Stories as well as the numerous tools and resources published by the ISO in order to identify the potential activities that are undertaken by film and television producers when they seek to implement protocols for working with Indigenous communities, cultures, concepts and stories, at both the development and production stages.
Based on this knowledge, the consultants surveyed Indigenous producers to gain an understanding of the types of activities that they are actually engaging in to implement protocols as well as the costs associated with those protocols. The consultants worked with the ISO to identify producers for the survey. In all, 88 producers were invited to participate in the survey and 38 producers, or 43%, responded. Annex 1 contains the on-line survey questionnaire.
Respondents are representative of the breadth of Indigenous film and television production. They are actively involved in the development and production of projects in the genres of drama, documentary, and children and youth programming. They are producing series, single episodes (“one-offs”) and feature films. Their work has involved First Nations, Métis and Inuit communities, cultures, stories and concepts. The producers themselves identified as belonging to fifteen different First Nations from across the country, as well as to Métis and Inuit groups.
Two-thirds of respondents are based in the western provinces of Manitoba, Saskatchewan, Alberta, and British Columbia. Central and Eastern Canada were not as heavily represented amongst survey respondents. Only one third of respondents are based in the Central and Eastern provinces of Ontario, Quebec and Nova Scotia. There were no respondents from the northern territories (Nunavut, Northwest Territories or Yukon), nor from the provinces of New Brunswick, Newfoundland and Labrador or Prince Edward Island.
The consultants conducted nine interviews with stakeholders drawn from amongst Indigenous producers, as well as the ISO, Aboriginal Peoples Television Network (APTN) and the Canada Media Fund. These interviews were aimed at gaining a more in-depth understanding of the cost implications of implementing protocols. A list of those interviewed is found in Annex II.
The survey and interviews were complemented by an analysis of a representative sample of 34 statements included by producers in their applications for projects funded through the CMF’s Indigenous Program in fiscal years 2021-22 and 2022-23. The sample included projects in the drama, documentary and children/youth genres intended for release as series, feature films or single episodes. These producer statements describe the production’s application of protocols.
The study also examined average production budgets of projects funded by the Canada Media Fund’s Indigenous Program.
3. Structure of the Report
This report is divided into the following three sections:
- Section I provides an overview of the activities that producers are currently undertaking to implement protocols;
- Section II examines the cost impact of implementing protocols in Indigenous productions; and
- Section III provides a concluding summary for consideration by Canadian Heritage.
I. An Overview of the Activities Undertaken When Applying Protocols
1. Protocols Impact Every Aspect of Development and Production
1.1 Giving Back to the Community – Spirit of Reciprocity in Applying Protocols
Producers surveyed for this report are developing and producing television and films across the country in which they are implementing activities to apply protocols. Producers pointed out that when they are working with Indigenous communities, cultures, concepts and stories, applying protocols has a general impact on almost every aspect of their projects. As producers explained, in applying protocols, they are looking for opportunities to give back to communities. The spirit of reciprocity underlying protocols drives producers to, as much as possible, hire people and services from within the community and provide them with opportunities for training and mentorship, to build skills in the community. This ethos extends to working with communities to revitalize Indigenous languages and working with language speakers. It is also important to producers to obtain the proper permissions to shoot on Indigenous land in different Indigenous territories, many of which are located remotely, away from urban centres. Underpinning all of these activities is the critical work of building trusting relationships with communities that have, as one producer put it, a long history of being misrepresented by the screen industries. Producers must build bridges and strong relationships with Elders, governing bodies, knowledge keepers, language speakers, artists, and those who can provide services such as catering, guiding or equipment rentals.
Indigenous Protocols vary from community to community, with significant differences in cultural practices and language. Thus, research is required by the producer to gain a base level of understanding about the community being approached. According to a document prepared by the ISO, “Budgeting for Cultural Protocols”, producers are encouraged to begin planning and preparing up to three months prior to the start of production when applying protocols as “productions in Indigenous communities will take more time than the (already very tight) timeframe for shooting in studio, and will likely include budgeting for community events, community liaison(s) and other aspects of community engagement such as organizing screenings in communities [as well] as for more time when working with Indigenous content (i.e., stories, situations), as it takes more time to work through issues that involve potential harm or trauma… [to] identify proper permissions, and may require budgeting for cultural supports and cultural training on set or throughout production.”
2. Protocol Related Activities in Development
Interviews with stakeholders reveal that many activities relating to protocols are determined at the development stage. Ninety percent of all producers surveyed said that they have developed or are currently developing a screen-based project involving activities related to the application of protocols. The projects developed include films (52%), series for television or streaming (41%) and virtual reality or VR (3%). About two-thirds (62%) of development projects involved a dramatic or fiction project, while 35% were documentary projects. One respondent (4% of respondents) developed a children and youth project.
Producers are implementing activities to apply protocols in development relating to working with Indigenous content, in Indigenous languages, in communities, on Indigenous lands and with Indigenous crew and cast members. The frequency of protocols activities undertaken in development is shown in Figures 1 to 5 and discussed below.
When asked to identify the activities undertaken in the development stage when applying protocols, the majority of producers identified activities related to working with Indigenous content. As can be seen in Figure 1 below, 90% of producers surveyed identified “paying elders for their guidance, i.e. on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated”, and 90% identified “costs associated in script development with Indigenous advisors, consultants, script editors, cultural and community advisors”. A further 66% identified “costs associated with obtaining consent for the use of traditional or contemporary knowledge and cultures and engaging in reciprocal relationships with stakeholders.”
Activities | Percentage |
---|---|
Offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated | 90% |
Script Development activities such as hiring Indigenous advisors, consultants, script editors, cultural and community advisors, translation, etc. | 90% |
Activities associated with obtaining consent for the use of traditional or contemporary knowledge and cultures and engaging in reciprocal relationships with stakeholders | 66% |
Use of archives | 38% |
Activities associated with determining where ownership lies | 35% |
Archiving of materials associated with a project | 24% |
Two-thirds of producers identified activities related to working with Indigenous languages, with 66% of producers indicating “translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc.” (See Figure 2)
Activities | Percentage |
---|---|
Translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc. | 66% |
Activities relating to transmission of content in Indigenous languages, such as translation of final projects | 45% |
Language learning costs | 24% |
Development of language tools (i.e., language learning apps, translation guides, etc.) | 21% |
As can be seen in Figure 3, the most prevalent activities related to working with Indigenous communities were: “obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Knowledge Keepers, Traditional leaders, Traditional Governors, community Elders, language keepers (62%)” and “seeking permissions to go to certain places in the community” (59%).
Over half (55%) of producers offered gifts to community members.
About half of producers (52%) incurred travel costs, costs related to identifying and seeking appropriate permissions and costs related to shooting on Indigenous lands.
Activities | Percentage |
---|---|
Obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Knowledge Keepers, Traditional leaders, Traditional Governors, community Elders, language keepers | 62% |
Seeking permissions to go to certain places in the community | 59% |
Gifts | 55% |
Travel costs, including transportation and accommodation, per dia, etc. | 52% |
Identifying and seeking appropriate permissions | 52% |
Costs for shooting on Indigenous territory or in an Indigenous community | 52% |
Hiring a community liaison | 45% |
Community screenings | 41% |
Spending time explaining community rights and what to expect during a shoot | 38% |
Writing up agreements and preparing the community for what will happen with film crews | 35% |
Catering for community observers on shoots | 35% |
Development of materials to support community meetings and engagement | 31% |
Making copies of the script for community members | 28% |
Drawing up agreements on community benefits or capacity | 24% |
Fees and clearances costs | 24% |
Community celebrations | 21% |
Community donations | 21% |
Holding community meetings | 21% |
Establishing an Elders Council | 21% |
Close to two thirds of producers (62%) offered “paid internships or mentorships of Indigenous cast and crew” as part of their development activities. (See Figure 4).
Activities | Percentage |
---|---|
Paid internships or mentorships of Indigenous cast and crew | 62% |
On-set ceremonies | 38% |
Creating a Code of Conduct on Set | 35% |
Creating Safe Spaces | 35% |
Providing Mental Health Supports | 31% |
Sensitivity training for cast and crew | 21% |
Language training costs | 17% |
Over half (59%) of producers built and maintained relationships with governing bodies in order to work on Indigenous lands. (See Figure 5).
Activities | Percentage |
---|---|
Initial and ongoing contact through Council of a Band Office or Land Management Councils or other government office | 59% |
Territorial Acknowledgement | 41% |
3. Protocol Related Activities in Production
About 73% of all those surveyed have produced or are currently producing a screen-based production involving activities related to applying protocols. These productions included films (47%) and series for television or streaming platforms (47%) as well one other, which was a theatre project (6%). These productions included dramatic and fiction productions (44%), documentaries (22%) and children and youth programs (17%). “Other” genres accounted for 17% of productions and included two animation productions and one project involving a hybrid of multiple genres.
Interviewees noted that protocols are at work in all aspects of production, including working with Elders for their expertise on matters of content, working with Indigenous language speakers, seeking permissions from communities and individuals, working with and providing training opportunities to Indigenous crew and cast members, hiring community members as service providers in areas such as catering, equipment and venue rentals, and shooting on Indigenous lands.
The frequency of protocols activities undertaken in production are shown in Figures 6 to 10 and discussed below.
As can be seen in Figure 6, almost all producers are undertaking activities to apply protocols when working with Indigenous content. The vast majority (94%) surveyed said they are “offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated.” Over three-quarters of producers (78%) undertook production activities such as hiring Indigenous advisors, consultants, cultural and community advisors and translation, while over half (56%) engaged in activities associated with determining where ownership lies and obtaining consent for the use of traditional or contemporary knowledge and cultures.
Activities | Percent |
---|---|
Offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated | 94% |
Production activities such as hiring Indigenous advisors, consultants, cultural and community advisors, translation, etc. | 78% |
Activities associated with determining where ownership lies | 56% |
Activities associated with obtaining consent for the use of traditional or Contemporary knowledge and cultures and engaging in reciprocal relationships with stakeholders | 56% |
Use of archives | 44% |
Archiving of materials associated with a project | 28% |
Almost three quarters (72%) of producers are incurring costs with working in Indigenous languages, such as translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc. (See Figure 7.)
Activities | Percent |
---|---|
Translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc. | 72% |
Activities relating to transmission of content in Indigenous languages, such as translation of final projects | 44% |
Language learning costs | 22% |
Development of language tools (i.e., language learning apps, translation guides, etc.) | 17% |
Three-quarters of producers indicated implementing activities to apply protocols for working with Indigenous communities. Three quarters (72%) undertake production activities related to seeking and obtaining appropriate permissions, while two-thirds (67%) offered gifts to community members. Over half (56%) incurred travel costs, or spent time explaining community rights and what to expect during a shoot. (See Figure 8.)
Activtities | Percent |
---|---|
Identifying and seeking appropriate permissions | 72% |
Gifts | 67% |
Obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Knowledge Keepers, Traditional leaders, Traditional Governors, community Elders, language keepers | 61% |
Seeking permissions to go to certain places in the community | 61% |
Travel costs, including transportation and accommodation, per dia, etc. | 56% |
Spending time explaining community rights and what to expect during a shoot | 56% |
Costs for shooting on Indigenous territory or in an Indigenous community | 44% |
Writing up agreements and preparing the community for what will happen with film crews | 39% |
Catering for community observers on shoots | 39% |
Community donations | 39% |
Community screenings | 39% |
Hiring a community liaison | 33% |
Development of materials to support community meetings and engagement | 28% |
Fees and clearances costs | 28% |
Making copies of the script for community members | 28% |
Offering DVD copies of a production to community members | 22% |
Establishing an Elders Council | 17% |
Holding community meetings | 17% |
Drawing up agreements on community benefits or capacity | 17% |
Community celebrations | 11% |
Two-thirds of producers indicated working with Indigenous crew or cast. Two-thirds (67%) of producers applied protocols in implementing paid internships or mentorships for Indigenous cast and crew and in creating safe spaces in production. Over half (56%) had on-set ceremonies.
Activities | Percent |
---|---|
Paid internships or mentorships of Indigenous cast and crew | 67% |
Creating Safe Spaces | 67% |
On-set ceremonies | 56% |
Providing Mental Health Supports | 39% |
Creating a Code of Conduct on Set | 33% |
Language training costs | 17% |
In addition, 61% of producers engaged in activities related to shooting on Indigenous lands, including a territorial acknowledgement, and contacts with a governing body. This is shown in Figure 10.
Activities | Percent |
---|---|
Territorial Acknowledgement | 61% |
Initial and ongoing contact through Council of a Band Office or Land Management Councils or other government office | 50% |
4. Summary Conclusion
4.1 Protocols Permeate Every Aspect of Development and Production Processes
Indigenous producers surveyed for this report are developing and producing projects involving Indigenous content, communities and languages, Indigenous lands, and Indigenous crew and cast. Applying protocols permeates every aspect of the work in development and production to build relationships of trust, give back to communities, and provide training and mentoring opportunities to build the skills of Indigenous professionals. These findings are supported by a review of producer statements submitted to the Canada Media Fund on applications funded through the Indigenous program, which provide additional evidence that producers are actively engaged in applying protocols throughout their work.
4.2 Prevalent Activities
The results of the survey provide evidence that some activities are more common than others although producers noted that every screen-based project is unique.
The most common activities in development reported by producers surveyed for this report are provided in Figure 11. These activities include honoraria to Elders for their guidance, the hiring of Indigenous advisors, consultants, script editors, cultural and community advisors, and translation and interpretation costs for meetings, documents and the script. As producers noted, they are incurring significant costs with respect to the payment of honoraria for Knowledge Keepers, Culture and Language Keepers, and other experts in the community. One noted that fees are paid to Elders for their time spent in discussion with the production. Translation, including fees for Elders, is another significant cost in development.
Common activities extend to obtaining consent, paid internships and mentorships for Indigenous crew and cast, seeking permission to go to certain places in the community, initial and ongoing contacts with a Band Office or Land Management Council with respect to working on Indigenous land, offering gifts and travel.
Most Common Activities in Development | Percentage of Respondents |
---|---|
Offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated | 90% |
Script Development activities such as hiring Indigenous advisors, consultants, script editors, cultural and community advisors, translation, etc. | 90% |
Activities associated with obtaining consent for the use of traditional or contemporary knowledge and cultures and engaging in reciprocal relationships with stakeholders | 66% |
Translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc. | 66% |
Obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Knowledge Keepers, Traditional leaders, Traditional Governors, community Elders, language keepers | 62% |
Paid internships or mentorships of Indigenous cast and crew | 62% |
Seeking permissions to go to certain places in the community | 59% |
Initial and ongoing contact through Council of a Band Office or Land Management Councils or other government office | 59% |
Offering gifts | 55% |
Travel, including costs for transportation and accommodation, per dia, etc. | 52% |
The most common activities in production reported by producers surveyed for this study are provided in Figure 12. These activities include honoraria to Elders for their guidance, the hiring of Indigenous advisors, consultants, cultural and community advisors, translation and interpretation costs for meetings with Elders, community leaders, community meetings, on-set translation, translation of production documents and script and seeking permissions. They extend to offering gifts, paid internships and mentorships for Indigenous crew and cast, creating safe spaces, obtaining consent from appropriate people and governing bodies, permission to go to certain places in the community and territorial acknowledgement.
Most Common Activities in Production | Percentage of Respondents |
---|---|
Offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated | 94% |
Production activities such as hiring Indigenous advisors, consultants, cultural and community advisors, translation, etc. | 78% |
Translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc. | 72% |
Identifying and seeking appropriate permissions | 72% |
Offering gifts | 67% |
Paid internships or mentorships of Indigenous crew and cast | 67% |
Creating Safe Spaces | 67% |
Obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Knowledge Keepers, Traditional leaders, Traditional Governors, community Elders, language keepers | 61% |
Seeking permissions to go to certain places in the community | 61% |
Territorial Acknowledgement | 61% |
Generally speaking, this work entails costs relating to travel to and from communities, the hiring of consultants or associates to undertake research, identifying key members of communities and initiating and maintaining relationships with Elders, knowledge keepers, language speakers and many others. There are costs for translation that involve building relationships with language speakers, consultations on language, and the work of translating written documents and scripts, on set and in post-production. There are costs relating to the offering of gifts to show appropriate respect. There are also costs relating to research, consultation, communication, obtaining consent and the training of Indigenous cast and crew.
Research, obtaining consent and community consultations will at a minimum involve costs incurred for travel to and from the community, for the hiring of community liaisons, fees for Elders and others being consulted, and for the development of communications materials.
Amongst the costs driving up production budgets, producers noted the employment of Elders to help deal with sensitive issues, to consult on various topics and to perform smudging and other on-set ceremonies.
Offering gifts also drives costs. Producers need to do research to understand the “giving culture” of a particular community and ensure that appropriate gifts are given to the right people.Footnote 3 According to one producer surveyed, their production gifts included tobacco and ceremonial cloth, which were a significant expense.
Community members were paid honoraria as cast participants. Other costs come from hiring community members as cultural advisors and to provide services and artwork, as well as for training and mentoring of community members to work in certain positions.
There are other costs as well, such as organizing community feasts or screenings and catering for the many community members who may attend shoots as observers. Budgeting for Cultural Protocols provides the insight that, “when you film in a community, people will show up and come to set to watch filming or to be part of the experience – this is part of the community dynamic…We need to set aside the funds for community to be on set as observers and remember that the film and its crew are visitors and guests.” For this reason, catering on the production of Rustic Oracle jumped by 40%.Footnote 4
A producer surveyed for this report noted that producers need to be thinking about what ongoing value they can provide for the community that will enhance it and build capacity. As noted by one producer in Budgeting for Protocols, “anything that can be spent in the community, you are going to spend in the community. Budget wise, about 20-25% of our overall budget went to companies and individuals on/from Kitigan-Zibi.”
Some productions created safe spaces for cast and crew. Other frequent activities are associated with identifying and seeking appropriate permissions for working in Indigenous communities, which can involve travel, the hiring of consultants, translation, and the preparation of materials to communicate the project to the appropriate people. The majority of projects also involve paid internships or mentorships of Indigenous cast and crew. This is seen as a critical activity by producers, to build the capacity of Indigenous filmmaking.
4.3 Producers are Working in Indigenous Languages
Producers indicated the important work of language revitalization and how this impacts their projects. As many noted, speakers of Indigenous languages are few and interpreters are in very high demand. It can be challenging to find people who are available to assist with productions. These challenges add both time and costs to projects. Some informants explained that the location of language speakers, their availability and the availability of studio facilities are all factors driving up costs, as is the number of languages in which a project may be versioned. It was also noted that dramatic productions are more costly in that they require language speakers to act, which may require additional coaching or time spent in rehearsal.
Working in Indigenous languages is very costly. An estimated 90 Indigenous languages and dialects are spoken in Canada.Footnote 5 Translation was described as costly to productions. Some languages have few speakers left, which increases the time needed for translation, with impacts on costs. The scarcity of translators also increases these costs. The fewer language speakers there are, the more costly it is to work in Indigenous languages and to produce Indigenous language versions of productions.
Another noted that it is challenging to fit Indigenous language voice overs onto scenes shot in English. A couple of producers spoke of the need to provide some training to language speakers voicing over dramatic productions.
Oral and written translation may be a collective effort, with on-set dialect coaches and language training. One producer explained that sometimes, translation requires re-scripting and editing to match the different run times of Indigenous languages, such as when the work is first edited in English or French.
Another spoke of the need for their translator to consult with language speakers in neighbouring communities to achieve consensus on the appropriate way to translate a concept. All of these activities drive up costs.
4.4 More Costs Are Incurred at the Development Stage
The application of protocols is particularly important in the development phase and according to interviewees, is just as important in pre-development, when relationships are being forged with communities and individual community members. Applying protocols drives up development costs in a number of ways, such as by extending the time in development and increasing the number of activities in the development phase, as well as by undertaking the work of language revitalization and working in Indigenous languages.
II. Costs Related to Applying Protocols in Indigenous Productions
1. Protocols Significantly Increased Time in Development
Forty-five percent of producers who responded to the survey said that their development time increased significantly or very significantly because of the implementation of activities related to protocols. An analysis of the activities undertaken shows that most projects undertook multiple activities to apply protocols, with each project being unique in the range of activities undertaken. Producers also noted that each project is different, and the time in development depends on the project.
According to producers, the time in development varies according to the projects and for one producer, it was also influenced by the communities in which they sought to establish relationships of trust. In some cases, communities where producers seek to establish contacts and meet people can be far away. One producer noted that the stress caused by the pandemic had a big impact on the time needed to establish bonds of trust. Speaking with and seeking permissions from Elders was said to take time. So too does translation, which requires both time and resources.
There is a strong correlation between the time in development and the impact on the development budget. Producers who said there was a significant or very significant impact on the time in development also reported a great or very great impact on their development budget 85% of the time.
As one producer noted, the increased time in development and the longer time needed to complete Indigenous projects adds to the cost.
2. Protocols Increased Development Budgets by Twenty-Five Per Cent or More
- The application of protocols is having a significant impact on the development budgets of some producers. Fifty-nine percent of all producers surveyed indicated that the application of protocols had a great or very great impact on their development budget.
- Overall, about a third of all producers (31%) had increased costs in development of more than 25%.
- Over half (59%) of producers said that protocols had a great or very great impact on their development budget. A further 31% said it had a moderate impact.
- Of the producers who said that protocol-related activities had a great or very great impact on their development budget, 43% said their development budget increased by more than 25%.
- Of the producers who said the impact on their budget was great or very great, almost half had additional costs of more than $25,000 in development.
3. Producers are Using Their Fees to Cover Development Costs
Almost half (47%) of these producers paid for the application of protocols through their producer fees. Producers noted that the time they need to consult with communities and Indigenous experts was not covered by producer fees. These costs are being absorbed by producers. In some cases, producers are depending on volunteer efforts as there is insufficient funding in development for all the protocols related activities. With longer development times, one noted that their financial capacity was challenged.
Some noted the difficulty of this consultative work and the importance of adequately remunerating the people involved in both development and production. One noted the pressure on producers or associate producers who are working directly with communities to apply protocols as there is a great feeling of responsibility to “get things right”. In some cases, this work is cross cultural requiring a high level of skill.
4. Protocols Increased the Time in Production
Ninety four percent of all respondents said that their productions took longer with more than half indicating that it was a significant increase. Over half (56%) of producers surveyed said that the application of protocols significantly or very significantly increased their project’s time in production. Another third (33%) said there was a moderate increase.
Applying protocols in remote communities, community collaboration and translation are said to add labour and time to projects in production. When applying protocols, typical industry production schedules don’t work. Relationship building and translation can be particularly time consuming. One producer commented that productions may underestimate the time required to implement protocols. Another noted the need for flexibility in meeting their deliverables due to the delays occasioned to implement protocols.
5. Protocols Increased Production Budgets by Ten Percent to over 25%
Overall, producers reported increased costs in production ranging from 10% to over 50% from the application of protocols.
There is a strong correlation between the increased time spent in production and increased production budgets. Of the producers who said that protocols significantly or very significantly increased their time in production, 70% also said that protocols had a great or very great impact on their production budget, while 30% said it had a moderate impact.
Half of all producers (50%) said that protocols greatly or very greatly impacted their production budget. A further 44% said there was moderate impact.
Of producers who said protocols had a great or very great impact on their production budgets, one third (33%) had production budget increases of more than 25%.
Of producers who said their production budgetFootnote 6 was greatly or very greatly impacted by protocols 44% reported increased production costs of over $25,000. Two projects had a budget increase of $50,000 to $100,000 and one project had a production budget increase of $150,000.
6. Producers are Using Their Fees to Cover Production Costs
Most producers are able to draw on some of their production financing to finance the application of protocols. However, 39% said they also contributed their own resources to fund protocol-related activities. Producers are contributing their personal resources or taking out personal loans. Some are accessing grants to pay for mentorships, or for specific protocol related activities.
Some producers noted that funding available through broadcasters and funders is insufficient, and as a result, producers must take resources away from on-screen costs to support protocols. This has an impact on the production.
7. Language Revitalization is Costly to Productions
Interviewees pointed to a wide range of costs to produce versions of a project in Indigenous languages. Versioning costs cited by producers ranged from $5,000 to $192,000, According to one source, the majority of versioning costs for a sample of 25 television projects was said to range from $10,000 to $50,000. As noted above, costs can vary depending on the availability and location of language speakers, the number of Indigenous language versions being created and the availability of studio facilities. It was also pointed out that costs can increase for dramatic productions that require a higher level of performance from language speakers that may entail specialized training. Interviewees observed that translation rates are not standardized. With limited budgets, language revitalization costs vary and are established on an individual project basis. As interviewees stated, Indigenous language speakers are in high demand, have very specialized skills, and should be remunerated accordingly.
III. Conclusion
1. Assessing Costs of Applying Protocols
The costs associated with the application of protocols by producers in the development and production of television programs and films are significant. In a general way, we note that some development and production budgets are more heavily impacted by the application of protocols.
The findings of this study point to an increased cost in development of at least twenty-five percent for projects that apply protocols. It also points to an increased cost in production of at least 10 percent for projects that apply protocols. In many cases, the increases are significantly higher, climbing to over 50% of base budgets.
1.1 Increase Development Budget By At Least 25%
As a proportion of the budget, costs to apply protocols are typically higher in development. According to producers and other informants surveyed, the application of protocols increased development budgets by 25% to over 50%. Development budgets should be increased by at least twenty five percent.
Telefilm Canada’s Indigenous Development program provides a higher level of development funding to Indigenous development projects ($18,000 as compared to $15,000 through its regular development stream) to support the use of script editors, which are mandatory in this program.
The Netflix Cultural Mentorship program has provided Indigenous producers with up to $15,000 to support the implementation of protocols. Some producers surveyed indicated the value of the Netflix grant in enabling them to cover their costs related to the application of protocols. The Netflix Cultural Mentorship Grant fills a gap in funding for pre-development, where many costs are incurred in relation to protocols. The grants provide funding for travel expenses, fees for mentors and Elders, hospitality, food and gifts, venue and equipment rentals and meeting expenses.Footnote 7
1.2 Increase Production Budgets By 10% to 25%
Production budgets increased by 10% to over 50% because of the application of protocols. These percentages provide an indication by which current budgets should be increased. Most productions increased by 10% to 25%.
Figure 13 below provides an analysis of average production budgets over the years 2019-20 to 2021-22 for projects funded through the CMF’s Indigenous Program. The table shows the average budgets of projects, the amount represented by a 25% increase in funding, and the total amount of the average budget with this 25% increase.
Genre | Format | Average Budgets | Proposed 25% increase | Average Budgets with Increase |
---|---|---|---|---|
Children's & Youth | Series | 111,032 | 27,758 | 138,790 |
Documentary | 1-off | 229,872 | 57,468 | 287,340 |
Documentary | Series | 110,359 | 27,590 | 137,949 |
Drama | 1-off | 3,176,533 | 794,133 | 3,970,666 |
Drama | Series | 689,721 | 172,430 | 862,152 |
As a point of comparison, Telefilm Canada provides Indigenous productions access to $100,000 in additional funding, which represents a 20% increase over its cap of $500,000 in production funding, to film productions that are shooting in a remote location or implementing a capacity-building program.Footnote 8
For its part, the Canada Media Fund’s Northern Incentive provides an added premium to its funding for projects taking place in Northern Canada: Nunavut, Nunavik, the Yukon Territory or the Northwest Territories. Production financing is in the form of a licence fee top-up of up to 30% of the production budget, as compared to a maximum of 20% in the CMFs regular Performance Envelope programFootnote 9, to a cap of $200,000.Footnote 10 In development, the Northern Incentive provides contributions of up to 75% of costs as compared to 49% in the CMF’s main performance envelope programFootnote 11, to a maximum of $50,000.Footnote 12
Indigenous on-screen protocols have been referred to as commencing the development of Indigenous industry standards.Footnote 13 As numerous producers for this study pointed out, Indigenous protocols are not activities that are added on to a production, they are a way of working. Former Executive Director of the ISO Jesse Wente has noted in regard to Indigenous on-screen protocols, “Decolonizing practices includes developing production models that ‘allow us to be more Indigenous’, in a way that more adequately reflects cultures and creative practices, while allowing proprietary matters to flourish.”Footnote 14
As seen in this report, Indigenous producers are establishing training and mentoring initiatives to build capacity in the sector and hiring from within Indigenous communities to build capacity in them as well.
Many producers have noted the need for sufficient funding in order to adequately remunerate Elders and language speakers for their sizeable and scarce expertise.
Producers surveyed for this report stressed the importance of reciprocal exchange, building capacity and leaving legacies when working with Indigenous communities in all phases of development and production. Several producers pointed to the importance of hiring community members wherever possible to ensure that they contribute to the community in a way that will have a lasting impact. Others pointed to skills training and mentoring as well as providing information on resources so community members can create their own projects.
The estimates put forward in this report reflect current practices, based on current budgets. Any consideration for increased funding should take into account ideal development and production budgets that would facilitate producers to undertake protocol-related work.
1.3 Support Language Revitalization Through a Separate Grant for Indigenous Productions
To support language revitalization work undertaken in the context of film and video development and production, funding should be made available to producers in the form of a grant. It was noted that producers are incurring costs for language revitalization work but that they typically do not have access to existing language revitalization funding. For example, private productions companies would not typically be eligible for the Department of Canadian Heritage’s Indigenous Languages Component — Indigenous Languages and Cultures Program.Footnote 15 Producers also observed that these costs should not be included in the development or production budgets but should be supported as a separate activity that supports wider language revitalization objectives.
Annex 1: Survey Questionnaire
I. Development Projects
Page Description: This section refers to development only.
- Have you ever developed, or are you currently developing, a screen-based project involving the implementation of activities relating to Indigenous protocols, i.e., during the development phase?
- Yes
- No [Skip to Section II Production Projects]
Page Description: This section refers to development only.
If you have developed more than one project that involved the implementation of activities relating to Indigenous production protocols, please choose only one development project to answer the following questions. If you are currently in development with a project, you can choose that project.
- If you wish, you may provide the name of your development project here: [text box]
- Which type of Indigenous communities did your development project involve (regarding location, content and/or protocols). Select all that apply. Randomize
- First Nations
- Métis
- Inuit
- You can expand on your answer here [comments box]
- What was/is the format of your development project? [multiple choice, single answer] Randomize
- Single episode of a TV or streaming program (i.e., one-off, MOW, single episode)
- Series for TV or streaming (including limited series, series, mini-series)
- Film (short, medium length or feature film for theatrical, streaming or TV platforms)
- Other (please specify) [text box]
- Under each Heading in the list below, please select all of the activities you implemented in your development project related to Indigenous protocols. You may also select the headings. [check boxes]
- [Drop down list - see List of Activities, below]
- Other (please specify) [text box]
- You can expand on your answer to Question 5 here: [comments box]
- To what extent did the activities undertaken increase the project’s time in development? [multiple choice, single answer]
- Very significant increase
- Significant increase
- Moderate increase
- Small increase
- No increase
- You can expand on your answer here: [comments box]
- How great was the impact of these activities on your development budget? [multiple choice, single answer]
- Very great impact
- Great impact
- Moderate impact
- Small impact
- No impact
- You can expand on your answer here: [comments box]
- Please provide an estimate of the total cost of all activities that were implemented in relation to protocols in the development of your project. If your project was a series, please provide the average cost of all activities for one episode in the series. [multiple choice, single answer]
- Less than $1,000
- $1,001 to $5,000
- $5001 to $10,000
- $10,001 to $25,000
- More than $25,000
- You can expand on your answer here: [comments box]
- What percentage of the overall development budget do these costs represent? If your project was a series, please provide the average percentage for one episode in the series.
- Less than 1%
- Between 1% and 5%
- Between 6% and 10%
- Between 11% and 25%
- Between 26% and 50%
- More than 50%
- You can expand on your answer here: [comments box]
- What funding sources did you draw on to finance your development activities undertaken in relation to Indigenous protocols? Select all that apply: [check boxes]
- Producer fees
- Development financing
- Other (i.e., personal contribution, loans, volunteer efforts, etc.). Please specify: [text box]
- You can expand on your answer to Question 11 here: [comments box]
- In which province or territory did (or is) the development taking place? [text box]
- What was/is the genre of your development project? [multiple choice, single answer] Randomize
- Children and youth
- Drama/Fiction
- Documentary
- Other (i.e., reality, etc)
- You can expand on any of your answers above here. [paragraph box]
II. Production Projects
Page Description: This section refers to production only.
- Have you ever produced, or are you currently producing, a screen-based project involving the implementation of activities related to Indigenous protocols, i.e., during the production phase? [multiple choice, single answer]
- Yes
- No [Skip to Section III Future Considerations]
Page Description: This section refers to production only.
If you have produced more than one project that involved the implementation of activities relating to Indigenous protocols, please choose only one production project to answer the following questions. If you are currently in production with a project, you can choose that project.
- If you wish, you may provide the name of the production here: [text box]
- Which type of Indigenous communities did your production project involve (regarding location, content and/or protocols). Select all that apply. [check boxes] Randomize
- First Nations
- Métis
- Inuit
- You can expand on your answer here [comments box]
- What was/is the format of your production project? [multiple choice, single answer] Randomize
- Single program, or “one-off”, for TV or streaming platform
- Short, medium-length or feature film (any platform)
- Series for TV or streaming platform (including limited series, series, mini-series)
- Other (please specify)
- Under each Heading in the list below, please select all of the activities you implemented in your production project related to Indigenous protocols. You may also select the headings. [check boxes]
- [Drop down list of activities– see List of Activities, below]
- Other (please specify) [text box]
- You can expand on your answer here: [comments box]
- To what extent did the activities undertaken increase the project’s time in production? [multiple choice, single answer]
- Very significant increase
- Significant increase
- Moderate increase
- Small increase
- No increase
- Please expand on your answer here: [comments box]
- How great was the impact of these activities on your production budget? If you produced a series, consider the overall impact for one season of your production. [multiple choice, single answer]
- Very significant impact
- Significant impact
- Moderate impact
- Small impact
- No impact
- You can expand on your answer here: [comments box]
- Please provide an estimate of the total cost of all activities that were implemented in relation to protocols in the production of your project. If your project was a series, please provide the average cost of all activities for one episode in the series. [multiple choice, single answer]
- Less than $1,000
- $1,001 to $5,000
- $5001 to $10,000
- $10,001 to $25,000
- $25,001 to $50,000
- $50,001 to $100,000
- More than $100,000 (please specify an approximate amount): [text box]
- You can expand on your answer to Question 24 here: [comments box]
- What percentage of the overall production budget do these costs represent? If your project was a series, please provide the average percentage for one episode in the series. [multiple choice, single answer]
- Less than 1%
- Between 1% and 5%
- Between 6% and 10%
- Between 11% and 25%
- Between 26% and 50%
- More than 50% (please specify): [text box]
- You can expand on your answer to Question 26 here: [comments box]
- What funding sources did you draw on to finance your production activities undertaken in relation to Indigenous protocols? Select all that apply: [check boxes]
- Producer fees
- Production financing
- Other (i.e. personal contribution, loans, volunteer efforts, etc.). Please specify: [text box]
- You can expand on your answer to Question 28 here: [comments box]
- In which province or territory did (or is) the production take place? [text box]
- What was/is the genre of your production project? [multiple choice, single answer] RANDOMIZE
- Children and youth
- Drama/Fiction
- Documentary
- Other (i.e., reality, etc). Please specify: [text box]
- You can expand on any of your answers above here. [paragraph box]
III. Future Considerations
- Thinking about the future, do you anticipate undertaking a new development project that would involve Indigenous protocols? [multiple choice, single answer]
- Yes
- No
- I don’t know
- It depends [please explain]: text box
- Thinking about the future, do you anticipate undertaking a new production project that would involve Indigenous protocols? [multiple choice, single answer]
- Yes
- No
- I don’t know
- It depends [please explain]: text box
- How do you anticipate financing any development or production activities implemented in relation to protocols? [paragraph box]
- Thinking about the future, are there additional funding needs to support the application of Indigenous protocols in development and production? [multiple choice, single answer]
- Yes
- No
- I don’t know
- It depends
- You can expand on your answer here: [Comments box]
- Are there additional funding needs for projects that take place in remote regions, such as the North that may require greater investment in transportation and accommodation, for example? [multiple choice, single answer]
- Yes
- No
- I don’t know
- It depends
- You can expand on your answer here: [Comments box]
- Are there additional funding needs for projects that involve Indigenous languages (both on- and off-screen)? [multiple choice, single answer]
- Yes
- No
- I don’t know
- It depends
- You can expand on your answer here: [Comments box]
- Are there additional funding needs for projects in different genres (i.e. drama, documentary, etc)? or platforms (TV, theatrical, web, other)? [multiple choice, single answer]
- Yes
- No
- I don’t know
- It depends
- You can expand on your answer here: [Comments box]
IV. Please tell us about yourself
- In which province or territory are you based? [drop down menu]
- Are you (select all that apply): [check boxes]
- A member of a First Nations
- Métis
- Inuk
- Is there anything else that you would like to add before completing this survey? [paragraph box]
List of Activities for Q.5 and Q.20
Activities Relating to Working on Indigenous Lands:
- Initial and ongoing contact through Council of a Band Office or Land Management Councils or other government office
- Territorial Acknowledgement
Activities Relating to Working with Indigenous Content:
- Script development activities such as hiring Indigenous advisors, consultants, script editors, cultural and community advisors, translation, etc.
- Activities associated with determining where ownership lies
- Activities associated with obtaining consent for the use of traditional or contemporary knowledge and cultures and engaging in reciprocal relationships with stakeholders
- Offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated
- Use of archives in a film
- Archiving of materials associated with a production
Activities Relating to Working in Indigenous Languages:
- Translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc.
- Development of language tools (i.e., apps, translation guides, etc.)
- Language learning costs
- Activities relating to transmission of content in Indigenous languages, such as translation of final production
Activities Relating to Working in Indigenous Communities:
- Obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Knowledge Keepers, Traditional leaders, Traditional Governors, community Elders, language keepers
- Establishing an Elders Council
- Holding community meetings
- Development of materials to support community meetings and engagement
- Travel costs, including transportation and accommodation, per dia, etc.
- Hiring a community liaison
- Drawing up agreements on community benefits or capacity
- Spending time explaining community rights and what to expect during a shoot
- Identifying and seeking appropriate permissions
- Writing up agreements and preparing the community for what will happen with film crews.
- Seeking permissions to go to certain places in the community
- Costs for shooting on Indigenous territory or in an Indigenous community
- Catering for community observers on shoots
- Community donations
- Gifts
- Community screenings
- Community celebrations
- Fees and clearances costs
- Making copies of the script for community members
- Offering DVD copies of a production to community members
Activities Relating to Working with Indigenous Crew or Cast:
- Paid internships or mentorships of Indigenous cast and crew
- Sensitivity training for cast and crew
- Language training costs
- Creating a Code of Conduct on Set
- Creating Safe Spaces
- Providing Mental Health Supports
- On set ceremonies
Annex II: Stakeholders Interviewed
- Shane Belcourt, Producer
- Tracey Kim Bonneau, Producer
- Adriana Chartrand, Lead, Indigenous Initiatives and Content Analyst in the Cultural Portfolio Management team, Telefilm Canada
- Adam Garnet Jones, Director of TV Content and Special Events, APTN
- Danis Goulet, Producer
- Lisa Jackson, Producer
- Suzanne Keppler, Manager, Program Report, Canada Media Fund
- Jill Samson, Deputy Director, Portfolio Management, Canada Media Fund
- Kerry Swanson, Executive Director, Indigenous Screen Office
Annex III: Analysis of Survey Findings
Questions on Development
Q1. Have you ever developed, or are you currently developing, a screen-based project involving the implementation of activities relating to Indigenous protocols, i.e., during the development phase?
Answer Choices | Responses by % | Responses by number |
---|---|---|
First Nations | 86% | 25 |
Métis | 21% | 6 |
Inuit | 7% | 2 |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Single episode of a TV or streaming program (i.e., one-off, MOW, single episode) | 0% | 0 |
Series for TV or streaming (including limited series, series, mini-series) | 35% | 10 |
Film (short, medium length or feature film for theatrical, streaming or TV platforms) | 52% | 15 |
Answered | - | 29 |
Q5. Under each Heading in the list below, please select all of the activities you implemented in your development project related to Indigenous protocols.
Activities | Responses by % | Responses by number |
---|---|---|
Initial and ongoing contact through Council of a Band Office or Land Management Councils or other government office | 59% | 17 |
Territorial Acknowledgement | 41% | 12 |
Answered | - | 29 |
Activities | Responses by % | Responses by number |
---|---|---|
Script Development activities such as hiring Indigenous advisors, consultants, script editors, cultural and community advisors, translation, etc | 90% | 26 |
Activities associated with determining where ownership lies | 35% | 10 |
Activities associated with obtaining consent for the use of traditional or contemporary knowledge and cultures and engaging in reciprocal relationships with stakeholders | 66% | 19 |
Offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated | 90% | 26 |
Use of archives | 38% | 11 |
Archiving of materials associated with a project | 24% | 7 |
Answered | - | 29 |
Activities | Responses by % | Responses by number |
---|---|---|
Translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc. | 66% | 19 |
Development of language tools (i.e., language learning apps, translation guides, etc.) | 21% | 6 |
Language learning costs | 24% | 7 |
Activities relating to transmission of content in Indigenous languages, such as translation of final projects | 45% | 13 |
Answered | - | 29 |
Activities | Responses by % | Responses by number |
---|---|---|
Obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Knowledge Keepers, Traditional leaders, Traditional Governors, community Elders, language keepers | 62% | 18 |
Establishing an Elders Council | 21% | 6 |
Holding community meetings | 21% | 6 |
Development of materials to support community meetings and engagement | 31% | 9 |
Travel costs, including transportation and accommodation, per dia, etc. | 52% | 15 |
Hiring a community liaison | 45% | 13 |
Drawing up agreements on community benefits or capacity | 24% | 7 |
Spending time explaining community rights and what to expect during a shoot | 38% | 11 |
Identifying and seeking appropriate permissions | 52% | 15 |
Writing up agreements and preparing the community for what will happen with film crews | 35% | 10 |
Seeking permissions to go to certain places in the community | 59% | 17 |
Costs for shooting on Indigenous territory or in an Indigenous community | 52% | 15 |
Catering for community observers on shoots | 35% | 10 |
Community donations | 21% | 6 |
Gifts | 55% | 16 |
Community screenings | 41% | 12 |
Community celebrations | 21% | 6 |
Fees and clearances costs | 24% | 7 |
Making copies of the script for community members | 28% | 8 |
Answered | - | 29 |
Activities | Responses by % | Responses by number |
---|---|---|
Paid internships or mentorships of Indigenous cast and crew | 62% | 18 |
Sensitivity training for cast and crew | 21% | 6 |
Language training costs | 17% | 5 |
Creating a Code of Conduct on Set | 35% | 10 |
Creating Safe Spaces | 35% | 10 |
Providing Mental Health Supports | 31% | 9 |
On set ceremonies | 38% | 11 |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Very significant increase | 21% | 6 |
Significant increase | 24% | 7 |
Moderate increase | 31% | 9 |
Small increase | 10% | 3 |
No increase | 14% | 4 |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number | |
---|---|---|---|
Very great impact | 35% | 10 | |
Great impact | 24% | 7 | |
Moderate impact | 31% | 9 | |
Small impact | 7% | 2 | |
No impact | 4% | 1 | |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Less than $1,000 | 21% | 6 |
$1,001 to $5,000 | 28% | 8 |
$5001 to $10,000 | 24% | 7 |
$10,001 to $25,000 | 0% | 0 |
More than $25,000 | 28% | 8 |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Less than 1% | 10% | 3 |
Between 1% and 5% | 17% | 5 |
Between 6% and 10% | 24% | 7 |
Between 11% and 25% | 17% | 5 |
Between 26% and 50% | 17% | 5 |
More than 50% | 14% | 4 |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Producer fees | 41% | 12 |
Development financing | 69% | 20 |
Other (i.e., personal contribution, loans, volunteer efforts, etc. Please specify) |
38% | 11 |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Alberta | 14% | 4 |
British Columbia | 24% | 7 |
Manitoba | 17% | 5 |
New Brunswick | 0% | 0 |
Newfoundland and Labrador | 0% | 0 |
Northwest Territories | 0% | 0 |
Nova Scotia | 7% | 2 |
Nunavut | 4% | 1 |
Ontario | 7% | 2 |
Prince Edward Island | 0% | 0 |
Quebec | 17% | 5 |
Saskatchewan | 10% | 3 |
Yukon | 0% | 0 |
Answered | - | 29 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Children and youth | 4% | 1 |
Drama/fiction | 55% | 16 |
Documentary | 31% | 9 |
Other (i.e., reality, game show, etc. Please specify) | 10% | 3 |
Answered | - | 29 |
Questions On Production
Answer Choices | Responses by % | Responses by number |
---|---|---|
Yes | 72% | 23 |
No | 28% | 9 |
Answered | - | 32 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
First Nations | 83% | 15 |
Métis | 28% | 5 |
Inuit | 11% | 2 |
Answered | - | 18 |
Q18.1 You can identify the First Nation here:
- NunatuKavut
- Cree, Maori
- Stoney Nakoda
- God's Lake Narrows First Nation
- Cree, OCN, Grassy Narrows
- Syilx
- Mi’kmaq
- I’m First Nation Ojibway, along with the creator of the show being from my community but also being a mixed First Nation person.
Answer Choices | Responses by % | Responses by number |
---|---|---|
Single episode of a TV or streaming program (i.e., one-off, MOW, single episode) | 0% | 0 |
Series for TV or streaming (including limited series, series, mini-series) | 44% | 8 |
Film (short, medium length or feature film for theatrical, streaming or TV platforms) | 44% | 8 |
Other | 11% | 2 |
Answered | - | 18 |
Q20. Under each Heading in the list below, please select all of the activities you implemented in your production project related to Indigenous protocols.
Answer choices | Responses by % | Responses by number |
---|---|---|
Initial and ongoing contact through Council of a Band Office or Land Management Councils or other government office | 50% | 9 |
Territorial Acknowledgement | 61% | 11 |
Answered | - | 18 |
Answer choices | Responses by % | Responses by number |
---|---|---|
Production activities such as hiring Indigenous advisors, consultants, cultural and community advisors, translation, etc | 78% | 14 |
Activities associated with determining where ownership lies | 56% | 10 |
Activities associated with obtaining consent for the use of traditional or Contemporary knowledge and cultures and engaging in reciprocal relationships with stakeholders | 56% | 10 |
Offering honoraria to Elders for their guidance, i.e., on what may or may not be filmed, what knowledge or teachings can be shared, recorded or disseminated | 94% | 17 |
Use of archives | 44% | 8 |
Archiving of materials associated with a project | 28% | 5 |
Answered | - | 18 |
Answer choices | Responses by % | Responses by number |
---|---|---|
Translation costs such as for meetings with Elders, community leaders, community meetings, on-set translators, translation of production documents, translation of script, etc. | 72% | 13 |
Development of language tools (i.e., language learning apps, translation guides, etc.) | 17% | 3 |
Language learning costs | 22% | 4 |
Activities relating to transmission of content in Indigenous languages, such as translation of final projects | 44% | 8 |
Answered | - | 18 |
Answer choices | Responses by % | Responses by number |
---|---|---|
Knowledge Keepers, Traditional leaders, Traditional Obtaining consent and permissions from governing Nation, protocols office, Band Office, Tourism Office, Traditional Governors, community Elders, language keepers | 61% | 11 |
Establishing an Elders Council | 17% | 3 |
Holding community meetings | 17% | 3 |
Development of materials to support community meetings and engagement | 28% | 5 |
Travel costs, including transportation and accommodation, per dia, etc. | 56% | 10 |
Hiring a community liaison | 33% | 6 |
Drawing up agreements on community benefits or capacity | 17% | 3 |
Spending time explaining community rights and what to expect during a shoot | 56% | 10 |
Identifying and seeking appropriate permissions | 72% | 13 |
Writing up agreements and preparing the community for what will happen with film crews | 39% | 7 |
Seeking permissions to go to certain places in the community | 61% | 11 |
Costs for shooting on Indigenous territory or in an Indigenous community | 44% | 8 |
Catering for community observers on shoots | 39% | 7 |
Community donations | 39% | 7 |
Gifts | 67% | 12 |
Community screenings | 39% | 7 |
Community celebrations | 11% | 2 |
Fees and clearances costs | 28% | 5 |
Making copies of the script for community members | 28% | 5 |
Offering DVD copies of a production to community members | 22% | 4 |
Answered | - | 18 |
Answer choices | Responses by % | Responses by number |
---|---|---|
Paid internships or mentorships of Indigenous cast and crew | 67% | 12 |
Sensitivity training for cast and crew | 44% | 8 |
Language training costs | 17% | 3 |
Creating a Code of Conduct on Set | 33% | 6 |
Creating Safe Spaces | 67% | 12 |
Providing Mental Health Supports | 39% | 7 |
On-set ceremonies | 56% | 10 |
Answered | - | 18 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Very significant increase | 28% | 5 |
Significant increase | 28% | 5 |
Moderate increase | 33% | 6 |
Small increase | 6% | 1 |
No increase | 6% | 1 |
Answered | - | 18 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Very great impact | 22% | 4 |
Great impact | 28% | 5 |
Moderate impact | 44% | 8 |
Small impact | 0% | 0 |
No impact at all | 6% | 1 |
Answered | - | 18 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Less than $1,000 | 6% | 1 |
$1,001 to $5,000 | 17% | 3 |
$5001 to $10,000 | 11% | 2 |
$10,001 to $25,000 | 22% | 4 |
$25,001 to $50,000 | 17% | 3 |
$50,001 to $100,000 | 17% | 3 |
More than $100,000 (please specify an approximate amount) | 11% | 2 |
Answered | - | 18 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Less than 1% | 6% | 1 |
Between 1% and 5% | 11% | 2 |
Between 6% and 10% | 39% | 7 |
Between 11% and 25% | 22% | 4 |
Between 26% and 50% | 17% | 3 |
More than 50% (please specify percentage) | 6% | 1 |
Answered | - | 18 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Producer fees | 39% | 7 |
Production financing | 83% | 15 |
Other (i.e., personal contribution, loans, volunteer efforts, etc. Please specify) | 39% | 7 |
Answered | - | 18 |
Answer Choices | Responses by % | Responses by number | |
---|---|---|---|
Alberta | 17% | 3 | |
British Columbia | 28% | 5 | |
Manitoba | 22% | 4 | |
New Brunswick | 0% | 0 | |
Newfoundland and Labrador | 0% | 0 | |
Northwest Territories | 6% | 1 | |
Nova Scotia | 11% | 2 | |
Nunavut | 0% | 0 | |
Ontario | 6% | 1 | |
Prince Edward Island | 0% | 0 | |
Quebec | 11% | 2 | |
Saskatchewan | 0% | 0 | |
Yukon | 0% | 0 | |
Answered | - | 18 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Children and youth | 17% | 3 |
Drama/fiction | 39% | 7 |
Documentary | 22% | 4 |
Other (i.e., reality, game show, etc. Please specify) | 22% | 4 |
Answered | - | 18 |
Future Perspectives
Answer Choices | Responses by % | Responses by number |
---|---|---|
Yes | 96% | 24 |
No | 0% | 0 |
I don't know | 0% | 0 |
It depends (please explain) | 4% | 1 |
Answered | - | 25 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Yes | 100% | 25 |
No | 0% | 0 |
I don't know | 0% | 0 |
It depends (please explain) | 0% | 0 |
Answered | - | 25 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Yes | 76% | 19 |
No | 4% | 1 |
I don't know | 8% | 2 |
It depends | 12% | 3 |
Answered | - | 25 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Yes | 80% | 20 |
No | 0% | 0 |
I don't know | 16% | 4 |
It depends | 4% | 1 |
Answered | - | 25 |
Q37.1 You can expand your answer here:
- It depends on the nature of the projects, the number of nations involved in the project, the subject, the type of protocols to be put in place.
Answer Choices | Responses by % | Responses by number |
---|---|---|
Yes | 88% | 22 |
No | 0% | 0 |
I don't know | 4% | 1 |
It depends | 8% | 2 |
Answered | - | 25 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Yes | 64% | 16 |
No | 0% | 0 |
I don't know | 32% | 8 |
It depends | 4% | 1 |
Answered | - | 25 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
Alberta | 8% | 2 |
British Columbia | 36% | 9 |
Manitoba | 12% | 3 |
New Brunswick | 0% | 0 |
Newfoundland and Labrador | 0% | 0 |
Northwest Territories | 0% | 0 |
Nova Scotia | 8% | 2 |
Nunavut | 0% | 0 |
Ontario | 8% | 2 |
Prince Edward Island | 0% | 0 |
Quebec | 20% | 5 |
Saskatchewan | 8% | 2 |
Yukon | 0% | 0 |
Answered | - | 25 |
Answer Choices | Responses by % | Responses by number |
---|---|---|
First Nations | 72% | 18 |
Métis | 20% | 5 |
Inuit | 12% | 3 |
Answered | - | 25 |
Page details
- Date modified: