email print share on Facebook share on Twitter share on LinkedIn share on reddit pin on Pinterest

Marc-Antoine Robert

Producer on the Move 2008 – France

by 

Having enjoyed remarkable success with Persepolis [+see also:
film review
trailer
interview: Marc-Antoine Robert
interview: Marjane Satrapi, Vincent Pa…
film profile
]
(see Focus) – the first feature they produced for 2.4.7 Films – Marc-Antoine Robert and his partner Xavier Rigaud seem to have embarked on a promising new career.

Cineuropa: What is your background and how did you get into production?
I started out as a distributor, then worked at the CNC, before working for five years as financial director for France 3 Cinéma. 2.4.7 Films emerged from my meeting Xavier Rigaud, director of programming for the EuroPalaces network (Pathé and Gaumont theatres). We realised that we shared common ambitions and the same vision of the profession; we are guided by our personal choices and have a simple and good-humoured approach to our work. Persepolis got the ball rolling rather quickly, for we were lucky enough to have the opportunity to produce this project – Marjane Satrapi is a friend of mine.

(The article continues below - Commercial information)

How did you feel about the success of Persepolis?
It was a reward at the end of an enormous collaborative effort. For a producer’s debut feature, it was the ideal experience. We worked on a film of the highest quality, which enjoyed box office success in France and abroad, as well as picking up awards and being lauded at festivals. It’s absolutely remarkable, all the more so as we probably won’t produce any more animated films.

What type of films would you like to produce?
We’re very eclectic in our tastes and we love diversity. But we never talk about the projects we are currently working on. We think it’s better to maintain an element of mystery that entices viewers and arouses their interest. This turned out to be crucial for Persepolis.

Is it easy for young producers to finance their projects in France?
In France, between 150 and 200 films are produced every year and there are different funding opportunities that enable all different types of films to be financed. With the support fund, obligatory investments from TV broadcasters, Sofica, the tax credit fund and other sources, the French system favours production and there has never been more money available for film. But changes in the sector call for vigilance with regard to the necessity for a strong public television service that guarantees funding for a diverse film industry. We must also take into account the changes in the way audiences will view films in the coming years, as we enter the all-digital era.

Do you consider yourself privileged compared to your European counterparts?
Very much so; you only have to look at the domestic market shares. I would also like to say that I’m disappointed that we’ve just been refused funding from the Media Programme for the development of our projects. The reason? Our dossier lacked European vision in terms of the production and distribution strategy. It is nonetheless rather unrealistic to envisage – at the development stage – a European co-production and even less so European distribution without having to make compromises. European co-productions can be advantageous if the project – at an advanced stage – finds a European partner who shares the same artistic vision and the same passion. If it’s for purely financial reasons, then this type of collaboration doesn’t interest us.

What do you expect to achieve as a Cannes Producer On The Move?
We hope for more than strategic benefits whereby we’d pitch our projects and seek out funding sources. What interests us most is having the opportunity to put our finger on the pulse of European production, which is very dynamic and interesting; talk about up-and-coming talent and have informal exchanges with our colleagues from other countries.

(The article continues below - Commercial information)

Did you enjoy reading this article? Please subscribe to our newsletter to receive more stories like this directly in your inbox.

Privacy Policy