Methodology, Skills and Professional Benefits Participants Participants' Comments MEDICI Coordinator and Head of Studies «The 12 Labours of Hercules» Report of the Reports – Workshops 1 to 4

Reports Previous Workshops

Seventh Workshop – 27 to 29 September 2017 – Finstadjordet, Norway

Module 3 - How to take risk and experiment?

Introduction

New forms of distribution platforms have emerged offering a multitude of different types of content that are very different from the traditional formats.

Or, in other words:

Case Study 1 / Le Groupe Ouest (LGO)

Antoine Le Bos, co-director
www.legroupeouest.com
Please also see Antoine Le Bos’s presentation (PDF)

Le Groupe Ouest is a writers’ residency programme in a small coastal village in Brittany (France) that hosted more than 600 people (producers, scriptwriters-directors and coaches) from different countries in the past 10 years. The main asset of participating in the residency programme is that participants work with people from different countries. This ensures much better quality of brainstorming and feedback to their script than limited to their own national environment. 

Le Groupe Ouest

Le Groupe Ouest’s Philosophy

1 One example is a study done by the Princeton Neuroscience Lab. It is based on the sample of ten spectators whose brain activities were measured while they were watching certain content. The initial brain signals showed that there were not even two brains among the ten that have the same response to the watched film. However, when the proper storytelling started, all the brains started “dancing together”, creating the phenomenon of resonance. The same happens at music concerts where people act together as one, taken by the same vibe. Proper storytelling can create the same effect. A theater room of 400 hundred people can create that feeling of brains dancing together where all spectators have the same emotion. In Europe, there are places like Scuola Holden in Torino and some scriptwriting schools in Germany where people conduct similar relevant researches.

Challenges and solutions

Challenges:

Solutions:

Outcome of group discussions

Innovative development schemes within different film funds

Some of the funds:

More specifically:

Further possible development activities

But,

Le Groupe Ouest

Case Study 2 / Less is More (LiM) (Le Groupe Ouest)

What is LiM?

LiM’s storytelling methodology

But,

Case Study 3 / The International Producers Pooling Programme (IPPP)

Laurent Steiert, Director / Cinema department – Swiss Federal Office of Culture www.bak.admin.ch/film Please also see Laurent Steiert’s presentation (PDF)

Federal Office of Culture (FOC) is a Ministry of the Central Swiss Government that hosts the Film Department, but is also in charge of other fields such as music, visual arts and heritage. The FOC also finances FOCAL, a long-standing training structure, that stands behind the IPPP development programme.

What is IPPP?

Classical approach to workshops The IPPP approach to workshops
Training providers define a training programme and look for participants. Producers apply and attend such workshops guided by trainers. Participants define their own training programme with the support of the Training Provider. Producers from the pool define their own goals and targets. It is up to them to choose the experts who will train them and improve their skills.

IPPP’s methodology

Application process

Workshop process

Why IPPP is important?

Financing of the program

Questions from the audience

Do you also intend to take a risk and try discovering new talent during your programme? 
We aim exclusively at experienced producers, not talent development. In the future, however and after evaluation of the first editions, we may include also young producers in the pool who can receive mentoring from the experienced colleagues.
Who submits the application?
We receive group applications with one delegate producer, but every producer in the pool needs to explain his/her own strategy and individual projects. 
How do producers find each other?
They usually already co-produced before. Funds can also help producers find like-minded or necessary partners and co-producers by contacting funds in other countries and inquire. 

Case Study 4 / Pitch Readiness Programme for Multi-Episode Production

Carole Vivier – CEO & Film Comissioner of Manitoba Film & Music 
www.mbfilmmusic.ca/fr/

Carole Vivier – CEO & Film Comissioner of Manitoba Film & Music

But,

Questions from the audience

Do you have any case study showing innovative development of a feature film?
We have an example of a very auteur filmmaker who is also a visual artist: Initially the project did not fit into any of our development programmes, but we funded it by giving him pre-development money to go to Paris and do the research and work in Pompidou Center and around the world. This project is an example of the out-of-the box thinking.
What else does your fund do to encourage the outside-of-the-box thinking?
In the past, we used to support only TV projects with a traditional broadcaster attached. Today, in order to adapt to the new market reality, we accept to fund projects that have a digital broadcaster attached like Yahoo or Netflix. It is easier for small regional funds to change their guidelines because it concerns a smaller industry. It is not the case for our national funds that have to take into account more goals and a bigger territory.
What is your relationship with big digital players?
As a fund, there is no relationship. Netflix, Amazon and other platforms refuse to contribute to film funds in Canada like traditional broadcasters do. The Association of Producers suggested charging Netflix a fee, but the competent Ministry rejected it. Nonetheless, yesterday (27 September 2017, Netflix announced that it will invest 500 million CAD over the next five years in original productions in Canada. Let’s hope it will be beneficial for the industry!

The Role of Public Film Funds in the Future

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