Reports Previous Workshops
First Workshop Report – 25 to 27 April, 2012 – Sigtuna (Sweden)
Module 4 — Continuity and Newcomers
Existing Mechanisms, Proposals for the future
On one hand, the number of creative talents is constantly on the increase, as is the number of films being produced; on the other hand, funding budgets are unstable and more often on the decrease.
Or in other words:
- Is there any support mechanisms for “first-time directors” funds could be inspired by?
- Are there any support mechanisms for “first-time directors” that could serve to inspire funds?
- How large a share of the funding budget can be given to first-time directors?
- What budget size should be attached to first-time films in relation to overall budgets?
- Who should take the responsibility of financing first-timers?
- Should there be a specific scheme OR label for first-timers?
- How should the evaluation be done (e.g. according to the film topic and/or themes? by the producers? by the professionals surrounding the director?)
- Should a first-timer be "taken under wing" to secure the making of a second film (guidance etc.) as well?
- What sort of proposals would be applicable?
- Is it possible to strike the right balance between first-timers and established directors?
- How can second-timers be evaluated in the light of a failed first feature?
- Can we limit the number of films?
1. Existing Mechanisms (6 Examples)
Finnish Film Foundation: To assess a project, we don’t look at the person behind it (saying that especially for directors who have not been successful with their first film), only the project.
Among 22 supports for production: 8 first-timer films and 5 by second-timers. Those projects were funded through different programs: Calling card scheme, Low Budget scheme (300 to 400.000 €), 50/50 new scheme for commercial films…
- Our question: Do we take too much risk?
Swedish Film Institute: It is too easy to enter the Swedish film industry. In Sweden, new talents mean more funding from politicians.
The results: SFI financed between 2002 and 2010:
- SFI financed 204 films by 108 production companies,
- 8 of those companies made 5 films
- 67% of those companies made only 1 film
- 121 directors made only 1 film (69%) over 9 years
The more films you make, the better you do in terms of box office. If you do your first film with an established producer, you gain more exposure.
- One question remains: how can quality be measured?
Centre du Cinéma/Wallonia-Brussels Federation: We have tried different approaches. Some years ago, we were told to support new talents: the funding was split 50% for first-time directors and 50% for experienced directors (i.e. having produced more than 1 film). A few years later, the fund for experienced directors became too small and it was very difficult for second-timers to compete with more experienced ones. We then decided to create a third college devoted to experienced directors (like the Dardenne brothers, Jaco Van Dormael…). Six years later, the same problem occurred: this third college ended up with too many experienced directors and not enough budget! One year ago, we decided to try another funding structure by merging first-timers with second-timers, and reverting to 2 colleges. Our observation: this does not solve the difficulty of making a second film — in 2011, out of 40 applications, only 4 were submitted by second-timers.
- Second-timers are an issue: what makes it so difficult for them to make their film? Lack of creativity? A hard time finding a producer?
Israel: One third of the supported directors are first-timers. Particular attention is given to young talents with an innovative/experimental approach. This scheme has proven successful.
Norway: We have launched an initiative for emerging talents to encourage the new generation of feature film directors. Entitled “New ways to long films," the scheme is supposed to uphold moderate affirmative gender action; it is thus seen as a means of improving gender balance in Norwegian film production.
Ireland: We give a disproportionate amount of funding to new talents. Financing ranges from micro budgets to 2 Mio €
- The English language represents a problem (Irish talents stolen by the US). How can we hold on to good talents?
2. Some Proposals Discussed for the Future
Newcomers
- There should be a minimum allocated to newcomers. Around 25% of budget to new talents?
- A first feature should finance itself on the domestic market. Encourage filmmakers to make a low budget film as a proof of his/her talent.
- They should not be granted a separate fund but a particular attention. Not necessarily linked to low budget films.
- Should the fund foster relations with new talents? Or the producers?
- Different approaches by national and regional funds, especially regarding the switch from first-time to second-time.
Second time directors
- Not only the director but also the producer of a first film should be "taken under wing" to ensure the production of a second film.
- Regional funds nurture new talents. So first films should have the support of regional funds, and second films more that of national funds.
- Lowered expectations for first films than for second films: budgets are lower, with more investment in kind and crews that are more open to negotiate. If the first film is good, there are high expectations for the second; if not, national funds will show little/no interest. But regions still lend support, even if the first film did not do well.
Conclusions
- Funds are responsible for tracking new talents and should take responsibility for financing them.
- A special scheme may not be called for, but a label, a special attention. The wording "New Talents" instead of “first-time director” sounds better.
- For micro.budget films, we should take the pressure of a theatrical release off their shoulders; other distribution platforms should be accepted.
- Module 1 — The Role of Public Film Funds
- Module 2 — Partnership with Industry
- Module 3 — Strategies
- Case Studies Modules 1, 2 & 3
- Module 4 — Continuity and Newcomers
- Module 5 — Introduction by Keynote Speaker Inga Von Staden
- Module 5 — New Formats
- List of Participants (PDF)
- MEDICI First Workshop Full Report (PDF)
Illustrations by Daniel DePierre
Schedules Previous Workshops Partners Contact