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

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:

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…

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:

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.

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.

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 €

2. Some Proposals Discussed for the Future


Second time directors



Illustrations by Daniel DePierre

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