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

Sixth Workshop – 27 to 29 September 2016 – Warth (Switzerland)

Module 3 – Automatic schemes: more about sustaining production companies than developing quality projects?


Funds have implemented automatic schemes to emphasize the success and/or return on investment. The money generated by the producer through those schemes can be used to finance the development and production of future projects without going through the selective process.

Or, in other words:

Case Study / Danish Film Institute (DFI) – Why automatic funding sucks!

Please also see Claus Ladegaard’s presentation (PDF)

DFI’s funding philosophy:

The funding schemes

There are four ways of funding feature films with a budget of almost 27 million euro.

1. Commissioners’ scheme for art-house films with artistic qualities (13.2 million euro)

Example: LAND OF MINE (Zandvliet, 2015), produced by Nordisk Film.

2. New Danish Screen (3.4 million euro)

Example: BRIDGEND (Rønde, 2016)

3. Minority co-production scheme (1.6 million euro)

Example: RAMS (Hákonarson, 2015)

4) Market scheme for mainstream films with wide appeal and cultural value (8.6 million euro).

Example: MY CANADIAN ADVENTURE (2015) – high-budget family comedy; 320,000 admissions

Transition from Automatic Scheme to Market Scheme for mainstream Films

The Automatic Scheme (60/40)

Quick facts

Automatic Schemes

Challenges of this scheme:

The Market Scheme

What is new?

Decision-making procedure

Examples: THE DAY WILL COME (2016) – drama that would have probably never been produced either under the old automatic schemes or under the commissioners scheme. The film had 250,000 admissions.

CONSPIRACY OF FAITH (2016) – crime genre based on the popular crime books. The film had the biggest admissions in Denmark in 2016. Due to the extremely high budget for Danish standards, in the case of this film, the editorial board also considered the past merit of the creative team and the track record of the production company.

Lessons learned and their outcomes:

DFI’s challenges in regard to the general European context

Automatic Schemes

Outcomes of the group discussions

Automatic funds and tax/production incentives



How art-house and mainstream films are considered in other countries

The Development of Content: Challenges and Opportunities – Public Funds as Pawns or Players?

Illustrations by Séverine Leibundgut

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