Industry Report: Produce - Co-Produce...
Co-production case studies and funding information
Film production booming in Europe - up by 47% - over the last 10 years
More than 18,000 films were produced in Europe between 2007 and 2016, reports European Audiovisual Observatory
Case Study on Cleverman, Berlinale Co-Production Market III
A panel from the Co-Production Market at the 66th edition of the Berlinale, focusing on the Australian/New-Zealand drama series Cleverman
Case Study on Cleverman, Berlinale Co-Production Market II
A panel from the Co-Production Market at the 66th edition of the Berlinale, focusing on the Australian/New Zealand drama series Cleverman
Case study on Cleverman, Berlinale Co-Production Market
A panel from the Co-Production Market at the 66th edition of the Berlinale, focusing on the Australian/New Zealand drama series Cleverman
Case study on Jordskott, Berlinale Co-Production Market
The second panel of the Co-Production Market at the 65th Berlinale, on drama series Jordskott
Case study on Nobody Wants the Night, Berlinale Co-Production Market
The opening panel of the Co-Production Market at the 65th Berlinale, on Isabel Coixet’s film
Co-production in Europe, economic solution or artistic choice?
Can only a coproduction motive be on finances, or can it also be artistic? Is it possible a co-production do well?
Producers on the Move 2013
Cineuropa interviews 29 producers from 29 European countries who have been selected by European Film Promotion to take part in a networking platform during the Cannes Film Festival.
Berlinale Co-production Market 2013
Panel discussions: 'TV series, the new promise?' and case study of Pia Marais' Layla Fourie
Increase in the number of short film co-productions
On March, 1st, a debate on the development of short films co-production was taking place in Luxemburg.
When East Meets West 2013
The 2013 edition of the co-production forum in Trieste aimed at encouraging and building up new important connections with german speaking countries: Germany, Austria and Switzerland
Producers on the Move 2012
A group of 25 dynamic European producers will take part in the 'Producers on the Move' networking platform between May 19–22 during the Cannes Film Festival
Production Value 2012
From January 6 to 14, 2012 took place in Malta the 6th edition of PRODUCTION VALUE, the only training workshop dedicated to the art and craft of scheduling and budgeting European feature films
Producers on the Move 2011: All the interviews
25 European producers have been selected to take part in EFP’s Cannes networking event Producers on the Move. Cineuropa takes a close look at their careers
Co-production in Europe. Multinational and bi-national cinema treaties
It is often complicated for a production company to afford on its own the production of a film in terms of financing and workload. The articles explains how to find solutions as financial co-production, access to national public incentives or bi-national agreement to actively foster the cooperation of countries in the field of cinema production.
Case Study - Literary Adaptation
by Nir Bergman: From the Heart to the ScreenA case study of Nir Bergman's film adaptation of David Grossman's novel Intimate Grammar. At a conference held at the European Film Market during the Berlinale, Bergman, Tatjana Michaelis (of publishing company Carl-Hanser Verlag) and producer Assaf Amir discuss how a director's growing success can influence the sales of a film and the novel on which it is based.
Case Study: The Future by Miranda July
A case study on the new film by American director Miranda July, The Future, held during a conference at the European Film Market of the 2011 Berlinale. At the discussion, the US and German co-producers of July's sophomore effort recount how the collaboration came about between the two countries and the profoundly different production structures of each.
UniJapan: Talking about European cinema in the Japanese marketplace
As part of the Tokyo International Film Festival’s (TIFF, October 23-31) push this year to become more of an international event, UniJapan, the Japanese entertainment industry umbrella organization, has organized an Entertainment Forum, including a series of panels looking at a range of issues facing the global entertainment industry.
European Commission statement: Council authorises signature of EU-Korea Free Trade Agreement
The European Commission welcomes today’s decision of the Foreign Affairs Council to authorise the signature of the EU-Korea Free Trade Agreement
Case study: A French-Belgian co-production
The case study is a French-Belgian project directed by a French newcomer director with a successful background in short film.
Financing Plans and Budget Management
Moe Honan and Emely Christians presented the back side of an international co-operation agreement between two European companies, the German Ulysses Filmproduktion and the Irish Magma Film describing the management of the animated series Ooops! Noah is Gone. "Partners in co-productions share a long and sometimes bumpy road. To be successful it helps to share the same approaches."
Co-producing outside the EU: Cinema agreements with non-European countries
National cinema industries have several reasons for co-producing outside the EU. A shared language, a common cultural heritage, a maintained political influence or a neighbouring relation are some of the most common explanations. National cinema institutes can foster these relations both throughout legal frameworks and support programmes.
Berlinale 2010 Co-Production Market - Case Study: Submarino – Diving for Good Stories
Former Dogma director Thomas Vinterberg’s film is based on a novel of unflinching realism by Jonas T. Bengtsson, a young Danish author. This case study focuses on what made the producers choose this dark content and how they turned it into a Berlinale Competition film.
Berlinale 2010 Co-Production Market - Case Study: Son Of Babylon
From idea through to final delivery, from Leeds to Baghdad the producers fought four years to bring the film to life. An example on how even the smallest financial help made a difference.
Contracts in cinema I: Copyright and the chain of title
The article gives a definition of intellectual property and provides information on how to finance, produce, sell or show a film.
Case study: A UK production
A very well explained case study about a British project directed by a UK established art-house director
Audiovisual Production being helped
Production results concerning works which received financial help from the CNC in 2008.
Case Study - Adam Resurrected
Adam Resurrected is the adaptation of the – for a long time considered unscreenable - novel of the same name by Yoram Kaniuk, published in Israel in 1968. The director and the producers talk about the intense process of making the film come alive on screen.
Case Study Storm – Under One Umbrella?
Storm is an outstanding political thriller about a prosecutor working for the International Criminal Tribunal in The Hague trying to track down a war criminal - a popular Bosnian Serb. Suited to the story, Storm is realised as an international co-production, the first for director Hans-Christian Schmid. Initiated by 23/5 Filmproduktion, the director's production company, the project became a truly international cooperation with many partners from many countries.
Short film production support institutions in Europe
Organised by the company Sauve Qui Peut le Court Métrage in Clemont-Ferrand in February 2009, Euro Connection is the first European short film co-production forum. The forum played a unique role by providing detailed information about film productions, institutions and financial opportunities as well as general statistics of 10 partner countries.
Case study: The Frost Spanish-Norwegian co production
Based on the novel Little Eyolf by Norwegian writer Henrik Ibsen, The Frost is a Spanish-Norwegian co-production directed by Catalan director Ferran Audi. With a story set in Norway and Spain, the film was shot in both locations by a mixed crew of Norwegians and Spaniards. In this interview the producers Raül Perales and Amanda de Luis talked about advantages and difficulties of European co-production.
Pandora Film’s Raimond Goebel on Tulpan and regional film funding institutes in Germany
Tulpan by Kazakh director Sergej Dvortsevoy is one of the successful international art films produced by Pandora Film, a German-based independent film distribution and production company. In the interview, the joint owner of Pandora, Raimond Goebel talked about the background story of Tulpan and the important role of German regional film funding institutes for independent producers.
Berlinale 2008 Co-Production Market - Case Study Love and Other Crimes
Love and Other Crimes directed by oscar-nominated Serbian director Stefan Arsenijevic provides a good example of European co-production. Financed by 15 different partners and co-produced by 4 nations (Serbia/Germany/Austria/Slovenia), the film was presented as a case study during the Berlinale Co-Production Market 2008. In the interview, the collaborators of the film talked about the co-production from their own perspective.
Possibilities and opportunities for the international co-operation in Estonia
EAVE organized a special Estonian Panel to discuss the Estonian audiovisual landscape and international co-production opportunities in Estonia in December 2007. The panelists from several organizations in the country presented topics such as Estonian film history and marketing opportunities.
Funding and co-production opportunities in Eastern Europe and Baltic countries
EAVE (European Audiovisual Entrepreneurs) presented Funding and Co-Production Opportunities in Eastern Europe and Baltic Countries held in December 2007. Manfred Schmidt director of MDM, Tanika Sajatovic EAVE Workshop Assistant, and Karlo Funk from the Estonian Film Foundation were invited as guest panellists to talk about the recent changes in the film industry structures in Eastern Europe.
Coproducing with Balkan countries. Case study: Armin (2007)
Directo Ognjen Svilicic interviewed about his recent feature film Armin. In the interview, Svilicic talked about the collaboration with Cinelink and the co-production possibilities in Balkan countries, including his current film project Heaven on Earth.
European Support to Third Countries (2007), World Cinema Fund
The role of the World Cinema Fund for regional films was the main theme during the Berlinale 2007. The guest speakers had a heated discussion about the European funding system for regional films presenting detailed figures of some African and Middle Eastern countries.
2007 European Film Market
The right place to promote European films
The European Film Market (EFM) 2007 at the Berlinale established its status as being as important as Cannes in satisfying the growing demands of worldwide buyers. The number of attendees from the U.S and Japan has grown rapidly in recent years. EMF offered various genres including documentary, children’s, and horror films.
Landmarks for financing Mediterranean films (2007). Practical guide to financing opportunities.
Several European film funds are open to Mediterranean film projects with budgets between 5,000 to 1 million euros. They support documentary, features, and animation under certain conditions such as handling distribution rights or the involvement of a national producer for easier access to the film market as the Hubert Bals Fund and World Cinema Fund.
The Mediterranean Countries (2007), summary of the Euromed Audiovisual conference, Berlin 2007
The first conference of the three-year programme Euromed Audiovisual was held on February 10th and 11th during Berlinale 2007. After two-days of intense debate over strategies for the promotion of Euro-Mediterranean cinema, structural and political problems, financial difficulties, and audience education remained issues requiring future improvement.
Berlinale 2006 Co-production Market - Case study: The Elementary Particles
The Elementary Particles, based on Michel Houellebecq’s controversial French novel, was selected as a case study for the Berlinale Co-Production Market 2006. The German director Oscar Roehler and the producers revealed the background story of making the film including its adaptation into German cinema style, and marketing strategies for the foreign art house films.
Berlinale 2006 Co-production Market - Case study: Bring the Green to the Screen
Two football-related films, The Great Match and Once in a Lifetime were selected as case studies for the Berlinale Co-Production Market 2006. The producers talked about the challenge of impressing buyers whilst competing with other similarly themed films in the market around World Cup 2006.
Berlinale 2006 Co-production Market - Case study, Grbavica, Golden Bear
Grbavica, directed by Bosnian director Jasmila Zbanic, was selected as one of three case studies for the Berlinale Co-Production Market 2006. In a dialogue with Amra Bacsik, Zbanic and the producers explained the process of financing and how they achieved the making of this film as an international co-production.
How to coproduce with Spain
The Spanish film market has shown an intense growth in the last years, due to the current system of national subsidies. Despite the generous grant scheme, the incompatibility between EU and national laws makes it complicated for EU partners to co-produce in Spain. The urgent reformation of EU legislation remains a primary task for cultural integration in Europe.
Producing in Africa
The issue of development in African film industries was a focus at the baTic Film Festival 2007. During the discussions, given an awareness of the beneficial side of European contributions, the participants stressed the negative effects of the financial dependency on European countries on African film industries.
The Developer job
New film professions such as developer or film editor have gradually established their place in the film industry. These roles act as mediators between the director and the producer.
