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Estoril : de l’intérêt de devenir coproducteur…

décembre 20, 2010

Europa Distribution, le réseau de distributeurs indépendants européens, a tenu son workshop annuel à Estoril, lors du festival créé par le producteur et distributeur Paulo Branco, à la mi novembre. De nombreux professionnels se sont rassemblé pour échanger autour des défis actuels auxquels sont confrontés les producteurs et distributeurs indépendants quand les financements se font de plus en plus rares, et que la révolution numérique agit toujours tel un tremblement de terre dans l’industrie. Le programme et les présentations des panélistes sont disponibles ici – Europe oblige, les textes sont en anglais…

Coproduction workshop

Friday, November 12th

MODERATION: Pascal Guerrin – Backup Films (France)

Alexandre Mallet-Guy – Memento Films (France)

Massimo Brioschi – Mikado (Italy)

A workshop on coproduction opened the afternoon, gathering Alexandre Mallet-Guy from Memento Films Distribution (France), Massimo Brioschi from Mikado (Italy) and Pascal Guerrin from Backup (France). Back UP Films is specialized in structuring and engineering international film financing. It monitors two SOFICA in France, and acts as an intermediate between producers and investors in order to facilitate funding European and International projects.

The discussion opened with the concern about funding indie production, which gets more challenging every day. Therefore, more and more distributors and sales agents are getting involved as co-producers, first in order to develop higher collaboration with talents, but also in order to secure projects at an early stage and benefit from local subsidies in more than only one country.

There are two kinds of coproduction. The “non official” one, which mainly consists in investing equity against long terms rights on local territory, represents the lowest degree of cooperation but may prove really useful to distributors in order to secure rights when the projects gets started in spite of having to compete with counterparts after festival screenings and put a much higher MG if the film is critically acclaimed or enjoys a serious buzz during the festival. The non-official coproduction also allows a better cooperation in festival coverage. Eventually co producers usually come on board driven by a real desire to work with the talents attached to the project.

The “official” one, which is bordered by European Convention and/or bilateral treaties is only applicable if it covers all aspects defined by these international agreements. According to the panelists, this one is therefore more difficult to establish but may prove very efficient in order to get national subsidies. Since there is also an artistic and technical collaboration between co producers in this case, the risks and responsibilities in manufacturing the movie are shared, and so are knowledge/understanding of local markets, as well as access to TV presales. Bilateral treaties (France/Canada; France/Germany; Italy/France) notably define a frame for the movie to qualify for nationalities in both countries, and therefore benefit from local legislation on TV quotas for example, as well as national subsidies in both territories. In this case, the copyright on the movie is also shared.

The European Audiovisual Observatory has developed a database and indexes all local subsidies available in Europe in order to get a movie funded. The Korda database is available here.

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