03/10/2006

The discussed reform is inspired by the so-called "French model", often cited by film professionals, which each year makes over €530m available for film and audiovisual projects, compared to the meagre €90 reserved for the big screen by Italy’s FUS.

"The French model unites market and quality, and that must be our goal", states Andrea Colasio. "Today, the Italian system goes through periods in which there is a lot of attention on quality and very little on the market, and then periods in which the market commands. In between is a grey zone, which is neither market nor quality, and which needs to be eliminated". Colasio wants to open a market that has been relatively closed thus far, "actually sealed shut. Currently, the system rests upon certain rigidities, mainly the oligopoly of the large broadcasters, RAI and Mediaset, and the state; a system that blocks both the market and artistic creativity. We want the system to become more transparent, and to give voice to a plurality of professionals”.

The French model "is centred on automatisms in film financing, not on political discretion". Colasio explains: "Today in Italy, financing is distributed problematically: the producer presents a screenplay or director, often also along with a co-production agreement with RAI or Medusa, and obtains significant ministerial funds. There is thus excessive attention placed on the creation of the product in and of itself, without any attention to the product’s theatrical results. According to my proposal, we will continue financing 70% (up to a maximum of €1.5m) of first and second films, which is the workshop, the hotbed of creativity. But as far as other films are concerned, we will keep in mind their market and commercial value, not only their artistic and cultural value".

Thus, contributions will not be allocated to companies that, within the 12 months after the first public screening of their previous film, have box office earnings below a pre-established minimum. "In any case, the sum of the contributions for a single film will not be allowed to exceed 50% of the film’s overall cost".

Colasio’s proposal includes backing for distribution and promotion, even abroad, and more specific incentives for theatres that commit to programming a quota of Italian films. The multiplexes will have to reserve no less than 35% of their screens for domestic films, without being able to set aside, in the space of 24 hours, more than one screen for a given film. "A film risks failure if not adequately backed by marketing and promotion. There isn’t just a production phase, but a promotional phase as well, and without both, Italian cinema does not exist. Our job must be to reinforce all of the elements of the industry".

Financing will be selective, but above all automatic, through a proportional taxation on every form of usage – or commercialisation – of the films. "It is important to create financial availability, to substitute today’s static and passive FUS mechanisms. The eventual and ulterior award must then arrive from the market", concludes Colasio.