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

"L'industrie du film est en train d'évoluer très vite pour devenir un marché mondial, de sorte qu'en tant que producteurs, nous devons aussi penser à l'échelle mondiale"

Dossier industrie: Produire - Coproduire...

Joanna Szymańska • Directrice pédagogique, l'Atelier de coproduction européen, Institut Erich Pommer


La nouvelle directrice pédagogique de l'atelier détaille pour nous ce programme, qui permet aux participants de parler à des professionnels et d'apprendre de leurs stratégies commerciales

Joanna Szymańska  • Directrice pédagogique, l'Atelier de coproduction européen, Institut Erich Pommer
(© Shipsboy/Maciej Skwara)

Cet article est disponible en anglais.

Joanna Szymańska, the new head of studies at the Erich Pommer Institut’s European Co-Production workshop, details the inner workings of the training scheme for us.

Cineuropa: The workshop is titled European Co-Production, but you've expressed an interest in encouraging participants to think beyond Europe. Could you elaborate on how you plan to inspire a more global perspective in the training, and what opportunities exist for co-productions beyond European borders?
Joanna Szymańska:
The film industry is rapidly evolving into a global market, and as producers, we need to adopt an equally global mindset. We're in an era where diverse talents and stories can emerge from anywhere in the world. Because engaging with new territories is not just about accessing different funding sources; it’s also about connecting with new talents and stories that deserve a global audience.

(L'article continue plus bas - Inf. publicitaire)

As producers, we should aim to respond creatively to contemporary challenges, using film's universal language to our advantage, looking for practical solutions for the changing financial landscape. By talking to practitioners and learning from their business strategies, we aim to prepare participants to think globally, positioning European co-productions within a wider, international context.

You've mentioned a focus on sales and marketing, post-production. How do you intend to address these often overlooked but crucial aspects of the filmmaking process at the workshop, and why do you see them as essential topics for participants to explore?
At our workshop, we're focusing on sales and marketing from as early as the development stage because these aspects are pivotal yet are often overlooked in the filmmaking process. Only considering the volume of films produced annually, identifying and engaging the target audience is essential. As storytellers, we are not just making films; we're initiating conversations, and knowing who we're conversing with is key.

Through a hands-on workshop session, we aim to empower our participants to build effective audience and market-reach strategies, incorporating these elements into the core of the production process. This is especially crucial for our participants from institutions like national funds, as it's vital for them to think about promotional strategies and ways to support local producers as they strive to reach audiences in the most effective way.

Given the evolving landscape of the film industry, what specific complex issues do you anticipate the workshop will tackle, when it comes to co-productions? Additionally, how does the course aim to provide exclusive insights into recent European co-productions, especially in terms of the legal and financial aspects?
Our workshop primarily focuses on the practical challenges encountered in co-production structures. These include, amongst others, the unpredictability of public fund support, cashflow issues, rising production costs, and changing distribution patterns. By working with case studies, we provide real-world insights and strategies to navigate these challenges effectively. It’s a peer-to-peer approach to learning and sharing knowledge.

Looking ahead, there are several complex issues in co-productions, which our workshop touches upon. Firstly, we'll delve into what constitutes an independent producer, examining whether it's more about editorial liberty, or legal and ownership issues. And recognising the growing trend of producers moving from film to TV series, we take a closer look at a new pilot programme for TV co-productions by Eurimages. In this respect, the workshop will discuss how engaging in both film and TV series co-productions can empower producers to retain control over their IPs.

You have decided to include a session covering mental health at the workshop. This is not specifically tied to co-productions, so could you explain your reasoning behind the inclusion?
The decision to include a session on mental health in our workshop, though not directly linked to co-productions, is a very deliberate one. The nature of co-productions often involves more stress, pressure and potential for tension owing to the complexity of managing cross-border collaborations. It's important to acknowledge and address these challenges as part of the training.

This session is designed to offer practical guidance and support, by providing participants with a deeper understanding of their own emotions and stressors. With this, we hope to contribute to building a healthier, more balanced and more empathetic film industry. 

(L'article continue plus bas - Inf. publicitaire)

Vous avez aimé cet article ? Abonnez-vous à notre newsletter et recevez plus d'articles comme celui-ci, directement dans votre boîte mail.

Privacy Policy