Increase of industry reps at the Venice Film Market
- Venice Film Market director Pascal Diot describes new initiatives and goals
For his second edition of the Venice Film Market the director Pascal Diot already registers an increase of industry representatives. “This year we list 1,600 participants from more than 60 countries,” underlines Pascal Diot. The first edition of the Venice Film Market started with a total of 1,200 distributors, world sales agents, producers, film commissioners and festival representatives in 2012. The increase is the result of several new initiatives that are launched this year. “We have doubled the number of stands this year.” The cultural support fund Eurimages as well as several Film Commissions are present with a booth in the Industry Office.
“This year I also invited 40 producers from all over the world,” says Pascal Diot. “I work closely together with the European Producers Club. We are managing several panels together.” The producers are coming to Venice to meet with film commissions, film funds and sales companies. “My strategy is that the Venice Film Market becomes a networking place.” The approach is that the industry representatives will not only sell and buy films but also take time to discuss new projects. “Our aim is not to become a market like in Cannes with thousands of screenings and hundreds of stands. This market is really focused on networking and meetings.”
As last year, two consultants are hired as matchmakers at the Venice Film Market. Sarah Calderon is in charge of international sales, marketing and international acquisition while Alexandra Lebret is in charge of production and international coproduction. “Both of them give advice and organize meetings between people who don‘t know each other.”
A new initiative is the workshop Final Cut in Venice where four works-in-progress from Africa will be screened in the presence of the directors and producers to potential financiers such as world sales companies, producers or film funds. At the Venice Film Market, the independent African feature films also compete for various post-production awards for sound mixing, visual effects or the production of a DCP master, which are sponsored by different companies, organizations and festivals. “Our aim is to open this programme to other cinematographies.”
The Venice Film Market’s director is developing several new initiatives. “I wish for Venice to become a must go rendezvous on the very busy agenda through the year,” concludes Diot. “The industry representatives should know that this is the place where they are able to have long conversations with people with whom they usually only speak on the phone or are in touch via email. This is something we are working on.”
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