We spoke to the Austrian producer about her background, her commitment to contributing to a diverse film landscape and the advantages of being based in her home country

Austrian producer Andi G Hess is part of this year's edition of EFP's Producers on the Move programme at Cannes. She recently joined Johannes Schubert’s production company, Schubert, in Vienna after notching up considerable experience in producing at an international level. We spoke to her about her background, her commitment to contributing to a diverse film landscape and the strengths of being based in Austria.

Cineuropa: You have worked for various production companies, and you recently joined Schubert. What attracted you to it?
Andi G Hess: I have had the opportunity to experience a wide range of projects and working methods throughout my journey in the film industry – from arthouse films with high artistic standards to dramedy series for a broad audience and documentaries for cinema. I have worked on independent, smaller projects as well as large productions with several co-production partners. I also worked for an international media group. This diversity has sharpened my eye for how I want to produce, and which projects I want to get on board and shape in the long term.

What attracted me to Schubert was the team’s great passion for the projects and its clear focus on the filmmakers. We are particularly attracted to material with a strong cinematic signature and international appeal. I sensed a shared attitude to producing. We believe in long-term, creative partnerships and in growing together with other filmmakers.

You studied in Los Angeles for a few months, and later also worked a lot in, and with, the USA. What insights into working methods did this give you?
In LA, I first worked on a few projects as part of a filmmaking programme at NYFA. You go through all areas – from script to production, and from direction to camera – and work within a very manageable framework, which is low to no budget. Independently of this, I also had the opportunity to do a shoot at Paramount Studios during my stay. This was the first time I came into contact with SAG and studio structures. Both during these shoots and in my later experiences in the USA, I witnessed a great deal of flexibility and looseness in the teams, despite the very clear hierarchies. In terms of financing, the US system is based on different pillars to the European system – it is more market-orientated and investor-driven, while Europe is more strongly characterised by public funding models.

What responsibilities do you have as a producer when it comes to working towards an equal-opportunity film landscape?
This is, of course, hugely important, starting with the content and characters, and extending as far as the collaboration with the filmmakers and teams. You should never forget who you are crafting stories for: a multi-layered audience with diverse life experiences. In addition to gender incentives, there are currently also inclusion surveys at the Austrian film-funding agencies. These create not only awareness, but also specific incentives to achieve more diversity in the industry. In addition, clubs and associations are doing valuable work by actively promoting the topic of equality and providing impetus. I myself am a member of Film Fatal, a network for female producers who exchange ideas and support each other, but who also initiate events. There are also important networks such as Gewächshaus for BIPOC filmmakers in the German-speaking countries, which enable visibility and networking.

What are the advantages of being an Austrian producer when looking for international co-production partners?
I think “Austrian film” is known internationally far beyond the country's borders thanks to the work of great filmmakers over the past few decades. In addition, a new incentive model was introduced in 2023, which is very attractive for international co-productions and has significantly strengthened Austria as a film location. It has not only attracted major international productions, but has also created new opportunities for European co-productions and transnational partnerships. We are confident that the model will be continued in principle, despite the current temporary halt to submissions. It is of great economic importance for us as a location. The last two years have clearly shown this, and enormous added value has been created. The Schubert production company also has a sister company in Germany. This enables us to respond specifically to the requirements of individual projects and create appropriate financing structures.

What projects will you be taking to Cannes, and what are you hoping to achieve there?
I'm coming to Cannes with two exciting projects by really great filmmakers. One is Toxic, the new effort by Jessica Hausner. It's a great privilege to be part of this project and such a renowned team. Jessica and Johannes Schubert are also presenting the film at the Investors Circle in Cannes.

The second is The Shame of the Borbély Family, Kálmán Nagy's feature debut, which is also currently in the financing phase. In my opinion, Kálmán has an extraordinary talent for intense, emotionally complex stories that challenge the audience's perception and make them think. Both projects have already received support from the Austrian Film Institute and the Vienna Film Fund. At the same time, discussions are taking place in Cannes about projects on which we ourselves could be considered as co-production partners – this is also an exciting aspect, especially in the context of Producers on the Move. I am looking forward to having exchanges with the other participants and industry partners. I'm also hoping for new impetus, fresh perspectives and, of course, even more momentum for our projects.