Sarajevo 2021 - CineLink Industry Days
Dossier industrie: Green Film Shooting
Au CineLink, des professionnels du cinéma envisagent des stratégies pour rendre les coproductions internationales plus vertes et durables, et les challenges que cela implique
La discussion, modérée par Tamara Tatishvili, a réuni des producteurs, des représentants de fonds d’aide au cinéma et des consultants environnementalistes
Cet article est disponible en anglais.
On 17 August, a talk organised by the Sarajevo Film Festival (13-20 August 2021) brought together producers, film fund representatives and environmental consultants to discuss possible solutions to make international co-productions greener. The virtual debate, titled “Can co-productions be green? Strategy and Challenges,” was moderated by Tamara Tatishivili and saw the participation of Sehad Čekić (head of Film Centre of Montenegro), Amra Bakšić Čamo (producer for Bosnia and Herzegovina’s SCCA/pro.ba), Zuzana Bieliková (film commissioner for the Slovak Film Commission and the Slovak Audiovisual Fund), Alberto Battocchi (film commissioner for the Trentino Film Fund and Commission) and Christiane Dopp (Hamburg Film Commission and Eco Funding consultant, MOIN Moving Images North Filmfund Hamburg Schleswig-Holstein).
After Tatishvili’s opening remarks, the floor was given to Dopp, who spoke a few words about the Hamburg Film Commission’s Green Filming Badge, a compulsory sustainability check for all funded productions (initially optional) active since 2012 and involving all the aspects of filmmaking, from screenplay to distribution.
Later, Battocchi talked through the activities of CineRegio and the subgroup “Green Regio” in particular, a place whose aim is to raise awareness and share knowledge on sustainable film production tools, measures and policies. Back in 2016, the body decided to partner with a local environmental organisation and built T-Green Film, a tool to provide producers with “very practical rules and steps to take during shooting.” The agency became the first regional fund in Europe to both reward and certify production companies that work in a more environmentally sustainable way. He also touched upon Green Film, a certification system allowing a third party body to audit and verify whether a certain production deserves to be defined as eco-friendly.
Bieliková spoke about the development of Eureca, a pan-European eco-calculator for assessing the environmental impact of audiovisual productions and measure their carbon footprint. This user-friendly tool will facilitate sustainable filming across Europe and provide a monitoring and reporting tool for film bodies. The project is a joint effort from the Slovak Audiovisual Fund, the Slovak Film Commission, Promálaga and the Flanders Audiovisual Fund.
Next, Čekić highlighted how Montenegro, as a small capacity country, basically co-produces everything and there is no real “domestic film production.” Over the last 17 months of the pandemic, some progress has been recorded but more efforts are required in terms of “harmonisation of practices” at both the regional and the European level, he added.
Čamo delved Bosnia’s troubled audiovisual industry, as it currently lacks a national film body and a sense of responsibility regarding environmental issues. The fear is that Bosnian producers may be, at some stage, forced to comply with eco-friendly regulations but will receive no adequate support and funding to implement them, putting their enterprises at serious risk. “We’re not talking about a 30% [increase] but even a 4% may cause a breaking point in one of our projects. There’s a great danger for us and countries like ours,” she disclosed.
In the last part of the talk, panellists shared their takes on the conflict between a general will to protect the environment and the additional costs brought by green shooting practices. Interestingly, Battocchi revealed that this may not always be true. If sustainability is carefully planned, eco-friendly practices may result in reduced costs. For example, eliminating plastic bottles on set and replacing them with water provided in flasks or directly from the tap can help productions save money, water and waste.
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