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

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Fifth Workshop – Tuesday 29 September to Thursday 1 October 2015 in Santpoort, Netherlands

Module 4 – Distribution: co-production opens access to other countries, does the audience follow?

Co-production treaties allow projects to have different nationalities and to access public funds in each country including distribution subsidies.

Or, in other words:

I Don't Care

The circulation of European co-productions

Martin Kanzler, Analyst – European Audiovisual Observatory

Please also see Martin Kanzler, European Audiovisual Observatory (PDF)

Note: the nature of the figures in the presentation is PROVISIONAL. This presentation is confidential and cannot be published or communicated until the publication of the final analysis results in a report scheduled to be published in early 2016.

Comparison between national films and co-productions

Do co-productions circulate better than national films?

➔ the response is clearly YES

Four circulation indicators

  1. Export ratio
  2. Average release markets
  3. Average admissions
  4. Weight of non-national admissions (the importance of export markets)

Data Sample

Circulation Indicators’ Analysis

1. Export ratio by production type

➔ Conclusions

2. Average number of non-national release markets

Percentage Share

➔ Conclusions

3. Average number of admissions per film

➔ Conclusions:

4. Percentage share of non-national admissions

Split of non-national admissions: Europe vs outside of Europe

➔ Conclusions:

5. To summarise:

Twice the size

Methodological constrains and challenges

Different country

➔ Roughly speaking twice as well.


Some input

EAO analysed the top 100 films released non-nationally in Europe and the top 100 films released non-nationally outside of Europe between 2010 and 2014 to see if those two groups of successful films have something in common. They completed their data with some from IMDB. Despite the fact there is no formula that can help a film penetrate the international market, they tried to analyse the following aspects that could possibly contribute:

Production type:


Comedies don't travel


Location (as a proxy for local content)

Budget (as a proxy for production value and possibly expensive crews)

Sales agents (according to IMDB)


Outcome of group discussions

The study still does not address the following:

International Coproductions, Development, Gender and quotas

Illustrations by Gijs van der Lelij

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