Polish producer Dariusz Jablonski of Apple Film Production has been elected president of the influential European Producers Club (Epc).
Previously a vice-president of the Epc, Jablonski takes over from Gudny Hummelvoll who has held the post since 2020.
Pandora da Cunha Telles of Portugal’s Ukbar Filmes has been re-elected as a vice-president of the Epc, while Carlotta Calori of Rome based Indigo Film and Mariela Besuievsky of Spain’s Tornasol Films also become vice-presidents.
Speaking to Screen at Cannes, Jablonski stressed that the incoming team would focus on protecting independent producers, big or small “especially in light of more and more illiberal governments taking power.
Previously a vice-president of the Epc, Jablonski takes over from Gudny Hummelvoll who has held the post since 2020.
Pandora da Cunha Telles of Portugal’s Ukbar Filmes has been re-elected as a vice-president of the Epc, while Carlotta Calori of Rome based Indigo Film and Mariela Besuievsky of Spain’s Tornasol Films also become vice-presidents.
Speaking to Screen at Cannes, Jablonski stressed that the incoming team would focus on protecting independent producers, big or small “especially in light of more and more illiberal governments taking power.
- 5/19/2024
- ScreenDaily
The Italian government has reduced investment obligations for streaming services and removed IP protections for independent producers as part of a controversial reform of the country’s Media Law.
Streaming services such as Netflix and Disney+ must now invest 16% of their Italian turnover into European works, down from 20%.
Legislators have also deleted the section of the Media Law that set out the contractual terms for investment obligations related to IP rights.
The revision to the 2021 Media Law, known as the Tusma (Testo Unico sui Servizi Media Audiovisivi), was approved by the Italian cabinet last week.
The lead up to the...
Streaming services such as Netflix and Disney+ must now invest 16% of their Italian turnover into European works, down from 20%.
Legislators have also deleted the section of the Media Law that set out the contractual terms for investment obligations related to IP rights.
The revision to the 2021 Media Law, known as the Tusma (Testo Unico sui Servizi Media Audiovisivi), was approved by the Italian cabinet last week.
The lead up to the...
- 3/25/2024
- ScreenDaily
Who should own the intellectual property (IP) of a creative project, and who has the right to earn profits from it?
Those were some of the questions tabled this afternoon on the first day of Agora series — the Thessaloniki Film Festival’s hybrid film-series industry symposium. The festival’s panel on IP was chaired by Alexandra Lebret, Managing Director of the European Producers Club. Speakers included Alex Traila, Programme Μanager at Council of Europe, Amanda Livanou, founder of Neda Film, IP expert Elli Filippopoulou, Beta Film producer Ferdinand Dohna, and Paper Entertainment CEO Julien Leroux, who appeared to have the most definitive answer to the day’s questions.
“The profits need to be shared. And, for that, we need to find a balanced solution where rights and IP can be shared,” Leroux said.
“All the fights with the guilds in the US are really about this. There is no reason why all the profits,...
Those were some of the questions tabled this afternoon on the first day of Agora series — the Thessaloniki Film Festival’s hybrid film-series industry symposium. The festival’s panel on IP was chaired by Alexandra Lebret, Managing Director of the European Producers Club. Speakers included Alex Traila, Programme Μanager at Council of Europe, Amanda Livanou, founder of Neda Film, IP expert Elli Filippopoulou, Beta Film producer Ferdinand Dohna, and Paper Entertainment CEO Julien Leroux, who appeared to have the most definitive answer to the day’s questions.
“The profits need to be shared. And, for that, we need to find a balanced solution where rights and IP can be shared,” Leroux said.
“All the fights with the guilds in the US are really about this. There is no reason why all the profits,...
- 11/4/2023
- by Zac Ntim
- Deadline Film + TV
Exclusive: The Thessaloniki Film Festival’s Agora Series, a hybrid film-series industry strand, returns this year for its sophomore outing with Paper Entertainment CEO and Tehran executive producer Julien Leroux serving as program consultant.
This year’s Agora series program will run for two extended days, starting November 4, with a focus on the creative process of series screenwriting. The schedule will feature a range of masterclass sessions from local and international series professionals. Canadian filmmaker Jeremy Podeswa will host a masterclass on the future of storytelling titled From Six Feet Under to the Top: The Evolution of Contemporary Television at the Pavlos Zannas Theatre on November 4. Podeswa — who was recently announced as the lead director of the Blade Runner 2099 mini-series at Amazon — will discuss the evolution of series content throughout the years and his personal journey in the business. Podeswa’s credits include Six Feet Under, Game of Thrones,...
This year’s Agora series program will run for two extended days, starting November 4, with a focus on the creative process of series screenwriting. The schedule will feature a range of masterclass sessions from local and international series professionals. Canadian filmmaker Jeremy Podeswa will host a masterclass on the future of storytelling titled From Six Feet Under to the Top: The Evolution of Contemporary Television at the Pavlos Zannas Theatre on November 4. Podeswa — who was recently announced as the lead director of the Blade Runner 2099 mini-series at Amazon — will discuss the evolution of series content throughout the years and his personal journey in the business. Podeswa’s credits include Six Feet Under, Game of Thrones,...
- 10/12/2023
- by Zac Ntim
- Deadline Film + TV
The festival’s full Industry Days programme will take place from October 2-6.
Filmfest Hamburg’s Industry Days brings together the local industry with colleagues from throughout Germany and the international industry.
The programme of keynotes, panels, and workshops kicks off on October 2 with a keynote speech by one of Germany’s most prolific directors, Dominik Graf, known for features such as Fabian: Going To The Dogs and Beloved Sisters. It will be followed by discussions about the situation of emerging talents in Germany and the initiatives being developed to promote this up-and-coming generation of filmmakers.
For the second year running,...
Filmfest Hamburg’s Industry Days brings together the local industry with colleagues from throughout Germany and the international industry.
The programme of keynotes, panels, and workshops kicks off on October 2 with a keynote speech by one of Germany’s most prolific directors, Dominik Graf, known for features such as Fabian: Going To The Dogs and Beloved Sisters. It will be followed by discussions about the situation of emerging talents in Germany and the initiatives being developed to promote this up-and-coming generation of filmmakers.
For the second year running,...
- 9/28/2023
- by Martin Blaney
- ScreenDaily
With U.S. streamers still driving local market growth, TV producers in continental Europe are juggling between the Hollywood studio business model — under which Netflix and the likes get all rights in return for full-financing plus a fee — and the pre-existing European model based on co-productions that leave indie producers with backend and give them more creative control.
But that is starting to change.
Thanks to the E.U.’s Audiovisual Media Services Directive (Avms) — currently in various stages of implementation across Europe — there are early indications that giant platforms are slowly becoming more open to flexibly structured deals. Or, at least, that’s the hope going forward.
At its core, the directive simply states that streamers must offer a 30 quota of European content to European subscribers. But on top of that, E.U. countries are introducing nationally tailored legislation to make streamers directly re-invest a percentage of their revenues...
But that is starting to change.
Thanks to the E.U.’s Audiovisual Media Services Directive (Avms) — currently in various stages of implementation across Europe — there are early indications that giant platforms are slowly becoming more open to flexibly structured deals. Or, at least, that’s the hope going forward.
At its core, the directive simply states that streamers must offer a 30 quota of European content to European subscribers. But on top of that, E.U. countries are introducing nationally tailored legislation to make streamers directly re-invest a percentage of their revenues...
- 4/2/2022
- by Nick Vivarelli
- Variety Film + TV
Paris-based lobbying group the European Producers Club (Epc) is launching an initiative in tandem with Netflix to help create new opportunities for European women TV drama producers in attempt to balance the gender gap in Europe’s industry.
This new initiative, launched at the Series Mania TV festival, comprises a pitch contest for fiction series as well as a workshop run by Netflix about how to best pitch a project.
Producers of the six selected best projects will get the opportunity to pitch to Netflix. The three best pitches will receive awards of €50.000, €20.000 and €10.000 respectively to take their projects to the next development stage.
The pitching competition is reserved for Epc producers in 33 EU countries working for women-owned companies (women must have a minimum of 50% ownership).
Pitching teams must include at least one female producer and either a woman writer or director. The Netflix workshop is open to all of...
This new initiative, launched at the Series Mania TV festival, comprises a pitch contest for fiction series as well as a workshop run by Netflix about how to best pitch a project.
Producers of the six selected best projects will get the opportunity to pitch to Netflix. The three best pitches will receive awards of €50.000, €20.000 and €10.000 respectively to take their projects to the next development stage.
The pitching competition is reserved for Epc producers in 33 EU countries working for women-owned companies (women must have a minimum of 50% ownership).
Pitching teams must include at least one female producer and either a woman writer or director. The Netflix workshop is open to all of...
- 3/22/2022
- by Nick Vivarelli
- Variety Film + TV
Exclusive: Netflix is launching a partnership with the European Producers Club (Epc) to create opportunities for female producers, with news unveiled in the past few minutes at Series Mania.
The initiative starts with a pitch contest for and workshop run by Netflix. The producers of the six best projects will then get the opportunity to pitch to Netflix and the three best projects will receive an award of €50,000, €20,000 and €10,000 respectively in order to develop their projects further.
Only companies at least 50% owned by women will be eligible and teams must include at least one woman producer and either a woman writer or director. The workshop is open to all Epc Members.
“Representation behind the camera has a direct correlation with representation on screen,” said Christopher Mack, Director, Grow Creative at Netflix. “We believe that more people deserve to see their lives reflected in the stories we tell and invest in...
The initiative starts with a pitch contest for and workshop run by Netflix. The producers of the six best projects will then get the opportunity to pitch to Netflix and the three best projects will receive an award of €50,000, €20,000 and €10,000 respectively in order to develop their projects further.
Only companies at least 50% owned by women will be eligible and teams must include at least one woman producer and either a woman writer or director. The workshop is open to all Epc Members.
“Representation behind the camera has a direct correlation with representation on screen,” said Christopher Mack, Director, Grow Creative at Netflix. “We believe that more people deserve to see their lives reflected in the stories we tell and invest in...
- 3/22/2022
- by Max Goldbart
- Deadline Film + TV
Film i Väst’s Tomas Eskilsson presented findings from a pan-European study titled ‘Public Finance at the Crossroads’.
“Everything solid is quickly becoming fluid” was the conclusion of attendees at the second edition of the Explorer Konferenz held on the penultimate day of Filmfest Hamburg (September 30-October 9). The event analyses challenges and opportunities for producers and funding bodies created by the current disruption in the film industry.
International industry figures such as Alexandra Lebret of the European Producers Club and Netherlands Film Fund CEO Bero Beyer were among the speakers.
Tomas Eskilsson, head of strategy and public policy at the...
“Everything solid is quickly becoming fluid” was the conclusion of attendees at the second edition of the Explorer Konferenz held on the penultimate day of Filmfest Hamburg (September 30-October 9). The event analyses challenges and opportunities for producers and funding bodies created by the current disruption in the film industry.
International industry figures such as Alexandra Lebret of the European Producers Club and Netherlands Film Fund CEO Bero Beyer were among the speakers.
Tomas Eskilsson, head of strategy and public policy at the...
- 10/11/2021
- by Martin Blaney
- ScreenDaily
The CineLink Talks run August 14-19.
Screen International and Documentary Campus once again teamed up with the Sarajevo Film Festival (September 13-20) to host CineLink Talks, an online programme of panels for the festival’s 2021 industry strand.
The series of 60-minute CineLink Talks ran from August 15-19. Topics included filmmaking during the pandemic, working with streamers, female filmmaker quotas, mental health in the film industry and new models for distribution; and masterclasses with filmmakers Mads Brugger and Alexander Nanau.
The talks are available to watch in full below.
In conversation with filmmaker Mads Brugger
Moderator: Damir Šagolj
What have producers...
Screen International and Documentary Campus once again teamed up with the Sarajevo Film Festival (September 13-20) to host CineLink Talks, an online programme of panels for the festival’s 2021 industry strand.
The series of 60-minute CineLink Talks ran from August 15-19. Topics included filmmaking during the pandemic, working with streamers, female filmmaker quotas, mental health in the film industry and new models for distribution; and masterclasses with filmmakers Mads Brugger and Alexander Nanau.
The talks are available to watch in full below.
In conversation with filmmaker Mads Brugger
Moderator: Damir Šagolj
What have producers...
- 8/19/2021
- by Screen staff
- ScreenDaily
The 10 hour-long CineLink Talks will run from August 14-19.
Screen International and Documentary Campus have once again teamed up with the Sarajevo Film Festival to host CineLink Talks, an online programme of panels for the festival’s 2021 industry strand.
The 10 hour-long CineLink Talks will run from August 14-19. Topics include filmmaking during the pandemic, working with streamers, female filmmaker quotas, mental health in the film industry and new models for distribution. The line-up also includes masterclasses with filmmakers Mads Brugger and Alexander Nanau.
All of the webinars will run via Zoom and feature a live Q&a in which audience...
Screen International and Documentary Campus have once again teamed up with the Sarajevo Film Festival to host CineLink Talks, an online programme of panels for the festival’s 2021 industry strand.
The 10 hour-long CineLink Talks will run from August 14-19. Topics include filmmaking during the pandemic, working with streamers, female filmmaker quotas, mental health in the film industry and new models for distribution. The line-up also includes masterclasses with filmmakers Mads Brugger and Alexander Nanau.
All of the webinars will run via Zoom and feature a live Q&a in which audience...
- 8/6/2021
- by Screen staff
- ScreenDaily
Paris-based European Producers Club (Epc) has spearheaded the code.
Paris-based European Producers Club (Epc) has launched a four-point code of fair practices aimed at creating a more equitable relationship between the global streaming giants and the independent producers with whom they work.
The creation of the code has been driven by growing fears among independent producers across Europe that they are being reduced to the role of “producers for hire” by the funding models of the streaming platforms, which often demand all rights when they fully back film and TV projects.
The body argues current contract practices do not reflect...
Paris-based European Producers Club (Epc) has launched a four-point code of fair practices aimed at creating a more equitable relationship between the global streaming giants and the independent producers with whom they work.
The creation of the code has been driven by growing fears among independent producers across Europe that they are being reduced to the role of “producers for hire” by the funding models of the streaming platforms, which often demand all rights when they fully back film and TV projects.
The body argues current contract practices do not reflect...
- 3/17/2021
- by Melanie Goodfellow
- ScreenDaily
The Paris-based European Producers Club (Epc), which represents top independent film and TV drama producers across continental Europe, has issued a so-called Code of Fair Practices for streamers when commissioning content from indie producers.
The proposed rules — which the lobby group is hoping will provide a stimulus for an ongoing EU regulatory effort — cut to the core of efforts underway at various levels across Europe to change the rules of engagement with Netflix, Amazon Studios, Disney Plus and other Hollywood-based giants.
The Epc’s code comprises four basic principles covering crucial bones of contention such as the right for European indie producers to retain IP; to have access to streamer viewing data; and to become the exclusive conduit through which U.S. streamers can access European soft money.
These issues — see full text below — are at the heart of negotiations currently underway in several European countries, such as France, Italy,...
The proposed rules — which the lobby group is hoping will provide a stimulus for an ongoing EU regulatory effort — cut to the core of efforts underway at various levels across Europe to change the rules of engagement with Netflix, Amazon Studios, Disney Plus and other Hollywood-based giants.
The Epc’s code comprises four basic principles covering crucial bones of contention such as the right for European indie producers to retain IP; to have access to streamer viewing data; and to become the exclusive conduit through which U.S. streamers can access European soft money.
These issues — see full text below — are at the heart of negotiations currently underway in several European countries, such as France, Italy,...
- 3/17/2021
- by Nick Vivarelli
- Variety Film + TV
The EU’s game-changing Audiovisual Media Services Directive, which is expected to prompt new rules of engagement between producers and streaming giants, is finally in various stages of implementation across Europe.
The new rules — for which the formal deadline was January 2021, but there is some leeway — will involve investment obligations and in some countries, setting out terms of trade for streamers.
What remains unclear, however, is how long it will take for the European TV and film production ecosystem to feel the so-called “Brussels Effect.” And how much Avms will impact different member states that are applying the directive differently.
At its core the directive simply states that streamers must offer a 30% quota of European content to European subscribers starting in 2021. But on top of that, EU countries are introducing nationally tailored legislation to make streamers directly re-invest a percentage of their revenues in each European country where they operate.
The new rules — for which the formal deadline was January 2021, but there is some leeway — will involve investment obligations and in some countries, setting out terms of trade for streamers.
What remains unclear, however, is how long it will take for the European TV and film production ecosystem to feel the so-called “Brussels Effect.” And how much Avms will impact different member states that are applying the directive differently.
At its core the directive simply states that streamers must offer a 30% quota of European content to European subscribers starting in 2021. But on top of that, EU countries are introducing nationally tailored legislation to make streamers directly re-invest a percentage of their revenues in each European country where they operate.
- 3/5/2021
- by Nick Vivarelli
- Variety Film + TV
The Paris-based European Producers Club (Epc) has launched a gender equality charter for its members aimed at encouraging equal pay, opportunity and representation for women behind and in front of the camera.
The document addresses four key areas of interest: sexism and harassment, equal pay and access to responsibilities, talent and content.
The Epc is encouraging its 130 members to sign the charter on a voluntary basis and is also hoping national and European film institutions that work with its producers will also come on board too.
Its obligations range from arranging staff training around best practices to deal with sexism...
The document addresses four key areas of interest: sexism and harassment, equal pay and access to responsibilities, talent and content.
The Epc is encouraging its 130 members to sign the charter on a voluntary basis and is also hoping national and European film institutions that work with its producers will also come on board too.
Its obligations range from arranging staff training around best practices to deal with sexism...
- 2/11/2021
- by Melanie Goodfellow
- ScreenDaily
Can the indie ecosystem that’s at the heart of the European film industry survive with streaming giants encroaching on its underlying business model, just as the theatrical experience is teetering?
Maybe. But if the indie filmmaking ethos does survive, its business model will definitely be different.
That was the main takeaway of a webinar on the state of independent film production held with a group of top international producers and talents as part of the Locarno 2020 digital StepIn initiative in collaboration with Variety.
In line with StepIn’s mission as a think tank when, prior to the coronavirus crisis, it was possible to hold it as a physical event some tips and possible solutions emerged.
Brazilian producer Rodrigo Teixeira, who has been instrumental in bringing to the screen films such as “Call Me by Your Name” and “Ad Astra,” kicked things off warning against the danger to filmmakers posed...
Maybe. But if the indie filmmaking ethos does survive, its business model will definitely be different.
That was the main takeaway of a webinar on the state of independent film production held with a group of top international producers and talents as part of the Locarno 2020 digital StepIn initiative in collaboration with Variety.
In line with StepIn’s mission as a think tank when, prior to the coronavirus crisis, it was possible to hold it as a physical event some tips and possible solutions emerged.
Brazilian producer Rodrigo Teixeira, who has been instrumental in bringing to the screen films such as “Call Me by Your Name” and “Ad Astra,” kicked things off warning against the danger to filmmakers posed...
- 8/10/2020
- by Nick Vivarelli
- Variety Film + TV
Rome’s Mia market, an increasingly popular showcase for TV series, feature films and documentaries, has confirmed that it will have its sixth edition in the Italian capital, in a “protected and Covid-proof environment.” It will also be launching a virtual initiative for those who can’t attend.
The Mia market will take place Oct. 14-18 in Rome in the area called Distretto Barberini “thanks to protocols enabling full national and international participation at every event, with every necessary public health precaution in place,” said the organizers.
The event will also be launching Mia Digital, a platform that will connect thousands of users and give them access to a vast catalogue of new content.
Ahead of its launch this fall, Mia Digital will feature two virtual panels discussing distribution and production on May 14 and May 18. The first round-table, which is being hosted in cooperation with industry orgs Eave and Epc,...
The Mia market will take place Oct. 14-18 in Rome in the area called Distretto Barberini “thanks to protocols enabling full national and international participation at every event, with every necessary public health precaution in place,” said the organizers.
The event will also be launching Mia Digital, a platform that will connect thousands of users and give them access to a vast catalogue of new content.
Ahead of its launch this fall, Mia Digital will feature two virtual panels discussing distribution and production on May 14 and May 18. The first round-table, which is being hosted in cooperation with industry orgs Eave and Epc,...
- 5/14/2020
- by Elsa Keslassy
- Variety Film + TV
European producers to trial AI software aimed at enhancing outcomes for features at script, rough-cut and fine cut stages.
The Paris-based European Producers Club (Epc) and Swiss artificial intelligence start-up Largo have pacted on an experiment to trial how artificial intelligence technology could be applied to European independent film productions, to support their development, financing and distribution.
“The studios have been using AI for a while but the technology has yet to be widely explored by Europe’s independent film production scene,” explained Alexandra Lebret, managing director of the Epc which gathers some 100 top producers from across Europe.
Under the initiative,...
The Paris-based European Producers Club (Epc) and Swiss artificial intelligence start-up Largo have pacted on an experiment to trial how artificial intelligence technology could be applied to European independent film productions, to support their development, financing and distribution.
“The studios have been using AI for a while but the technology has yet to be widely explored by Europe’s independent film production scene,” explained Alexandra Lebret, managing director of the Epc which gathers some 100 top producers from across Europe.
Under the initiative,...
- 2/24/2020
- by 1100388¦Melanie Goodfellow¦0¦
- ScreenDaily
Annual report into the future of the screen industries and was unveiled at the Goteborg Film Festival.
The near future of the global film and TV industries will be a boom time of creativity and growing hours of content, but will also see an industry in chaos, according to thee 2020 Nostradamus report ’A Creative Explosion’.
The repprt was unveiled at the Nordic Film Market at the Goteborg Film Festival on Friday January 31.
“The next three to five years will be a time of creativity and chaos, with many artistic highs and unprecedented amounts of money invested in scripted content,” said the report.
The near future of the global film and TV industries will be a boom time of creativity and growing hours of content, but will also see an industry in chaos, according to thee 2020 Nostradamus report ’A Creative Explosion’.
The repprt was unveiled at the Nordic Film Market at the Goteborg Film Festival on Friday January 31.
“The next three to five years will be a time of creativity and chaos, with many artistic highs and unprecedented amounts of money invested in scripted content,” said the report.
- 2/3/2020
- by 1100142¦Wendy Mitchell¦0¦
- ScreenDaily
Annual Nostradamus report report looks into the future of the screen industries and was unveiled at the Goteborg Film Festival.
The near future of the film and TV industries will be a boom time of creativity and growing hours of content, but will also see an industry in chaos.
These are the predictions of the 2020 Nostradamus report – “A Creative Explosion” – which was unveiled on Friday (January 31) at the Nordic Film Market at the Goteborg Film Festival.
“The next three to five years will be a time of creativity and chaos, with many artistic highs and unprecedented amounts of money invested in scripted content,...
The near future of the film and TV industries will be a boom time of creativity and growing hours of content, but will also see an industry in chaos.
These are the predictions of the 2020 Nostradamus report – “A Creative Explosion” – which was unveiled on Friday (January 31) at the Nordic Film Market at the Goteborg Film Festival.
“The next three to five years will be a time of creativity and chaos, with many artistic highs and unprecedented amounts of money invested in scripted content,...
- 2/3/2020
- by 1100142¦Wendy Mitchell¦0¦
- ScreenDaily
Annual Nostradamus report report looks into the future of the screen industries and was unveiled at the Goteborg Film Festival.
The near future of the film and TV industries will be a boom time of creativity and growing hours of content, but will also see an industry in chaos.
These are the predictions of the 2020 Nostradamus report – “A Creative Explosion” – which was unveiled on Friday (January 31) at the Nordic Film Market at the Goteborg Film Festival.
“The next three to five years will be a time of creativity and chaos, with many artistic highs and unprecedented amounts of money invested in scripted content,...
The near future of the film and TV industries will be a boom time of creativity and growing hours of content, but will also see an industry in chaos.
These are the predictions of the 2020 Nostradamus report – “A Creative Explosion” – which was unveiled on Friday (January 31) at the Nordic Film Market at the Goteborg Film Festival.
“The next three to five years will be a time of creativity and chaos, with many artistic highs and unprecedented amounts of money invested in scripted content,...
- 2/3/2020
- by 1100142¦Wendy Mitchell¦0¦
- ScreenDaily
Powered by Netflix, Amazon Prime Video, Apple TV Plus and Disney Plus, among others, the subscription video on demand market is booming. But in five years from now, it will have contracted with no single service fully dominating the landscape, according to the 7th Nostradamus Report, which forecasts trends in film and TV.
The thorough study was presented by its author, Johanna Koljonen, during the Nordic Film Market at the Göteborg Film Festival on Friday.
Entitled “A Creative Explosion,” the report highlights key trends for the next three-to-five years with six chapters dedicated to “Diversity Beyond 50/50,” “After The Streaming Wars,” “The Pain And Glory of Feature Film,” “The Irishman In the Window,” “Boom Year Problems” and “Insight As Leverage.”
The report is based on collected data and media analysis and built around a wide range of interviews with industry experts, including Alex Mahon, CEO of Channel 4; Lars Blomgren, Endemol Shine Group...
The thorough study was presented by its author, Johanna Koljonen, during the Nordic Film Market at the Göteborg Film Festival on Friday.
Entitled “A Creative Explosion,” the report highlights key trends for the next three-to-five years with six chapters dedicated to “Diversity Beyond 50/50,” “After The Streaming Wars,” “The Pain And Glory of Feature Film,” “The Irishman In the Window,” “Boom Year Problems” and “Insight As Leverage.”
The report is based on collected data and media analysis and built around a wide range of interviews with industry experts, including Alex Mahon, CEO of Channel 4; Lars Blomgren, Endemol Shine Group...
- 2/2/2020
- by Elsa Keslassy
- Variety Film + TV
Rome – The impending rollout of Disney Plus, HBO Max, and other new streaming services promises a new era of uncertainty—and opportunity—for broadcasters and producers in an industry already disrupted by the likes of Netflix and Amazon. At a panel hosted by the European Producers Club Friday afternoon during the Mia market in Rome, executives from some of Europe’s leading broadcasters gathered to discuss how local players can compete in a rapidly changing market.
“It’s not only the OTTs,” said Marcus Ammon, Svp of original production for Sky Germany, pointing to the threat from streaming giants like Netflix and Amazon. Ammon noted that public broadcasters, commercial broadcasters and other players are also launching into the streaming business. “We need to find our own way.”
Moderated by the European Producers Club’s managing director, Alexandra Lebret, the panel also included Thomas Triboit, head of Orange Studio’s TV series department; José Skaf,...
“It’s not only the OTTs,” said Marcus Ammon, Svp of original production for Sky Germany, pointing to the threat from streaming giants like Netflix and Amazon. Ammon noted that public broadcasters, commercial broadcasters and other players are also launching into the streaming business. “We need to find our own way.”
Moderated by the European Producers Club’s managing director, Alexandra Lebret, the panel also included Thomas Triboit, head of Orange Studio’s TV series department; José Skaf,...
- 10/19/2019
- by Christopher Vourlias
- Variety Film + TV
Long low on the priority list for Japan’s notoriously insular film industry, co-productions between the second-largest film market in Asia and its overseas partners are now in the spotlight. That was the view of a industry executives, speaking at a seminar at Tiffcom, on the margins of the Tokyo International Film Festival.
A bilateral film co-production agreement between Japan and China was signed in May. That marked a thawing of political relations and may open the door to a new film-making era. Not surprisingly, co-productions between Japan, Europe and Asia was the subject of a seminar held at Tiffcom on Wednesday.
Sedic International producer Toshiaki Nakazawa, whose credits include the Oscar-winning drama “Departures” and the Takashi Miike samurai swashbuckler “13 Assassins,” which he made with veteran British counterpart Jeremy Thomas, noted that Japan needs to “expand the pie” of its film market. Given that Japan’s population of 130 million...
A bilateral film co-production agreement between Japan and China was signed in May. That marked a thawing of political relations and may open the door to a new film-making era. Not surprisingly, co-productions between Japan, Europe and Asia was the subject of a seminar held at Tiffcom on Wednesday.
Sedic International producer Toshiaki Nakazawa, whose credits include the Oscar-winning drama “Departures” and the Takashi Miike samurai swashbuckler “13 Assassins,” which he made with veteran British counterpart Jeremy Thomas, noted that Japan needs to “expand the pie” of its film market. Given that Japan’s population of 130 million...
- 10/25/2018
- by Mark Schilling
- Variety Film + TV
Among the most anticipated Spanish productions of the year are a Paleolithic period drama, the new Almodovar and a regal role for Penelope Cruz.A Monster Calls
Dir Ja Bayona
A Monster Calls completes Bayona’s trilogy exploring motherhood, after The Orphanage and The Impossible. Patrick Ness has adapted his novel about a boy who seeks refuge in a fantasy world. The English-language film, which shot in Spain and the UK, stars Liam Neeson. It is a Spain-us co-production between Apaches Entertainment with Telecinco Cinema, Peliculas La Trini, Participant Media, River Road Entertainment and Lionsgate. Set for release in the autumn, it will be distributed in Spain by Universal Pictures International, in the Us by Focus and in the UK via eOne.
Contact Lionsgate International: www.lionsgate.com
Abracadabra
Dir Pablo Berger
Berger’s follow-up to Blancanieves again stars Maribel Verdu, this time as a housewife determined to fight the spirit possessing her husband. Set to shoot...
Dir Ja Bayona
A Monster Calls completes Bayona’s trilogy exploring motherhood, after The Orphanage and The Impossible. Patrick Ness has adapted his novel about a boy who seeks refuge in a fantasy world. The English-language film, which shot in Spain and the UK, stars Liam Neeson. It is a Spain-us co-production between Apaches Entertainment with Telecinco Cinema, Peliculas La Trini, Participant Media, River Road Entertainment and Lionsgate. Set for release in the autumn, it will be distributed in Spain by Universal Pictures International, in the Us by Focus and in the UK via eOne.
Contact Lionsgate International: www.lionsgate.com
Abracadabra
Dir Pablo Berger
Berger’s follow-up to Blancanieves again stars Maribel Verdu, this time as a housewife determined to fight the spirit possessing her husband. Set to shoot...
- 4/1/2016
- ScreenDaily
The Santa Monica-based sales, production and financing company will start talks with international buyers in Berlin on the historical drama starring Antonio Banderas.
Myriad holds sales rights to Altamira excluding Spain/Andorra, Germany, Austria, Switzerland and Latin America – where Fox International will distribute – to the true story about an archaeologist and his daughter whose discovery of historic cave paintings sparks a firestorm.
Hugh Hudson (Chariots Of Fire) directed and Rupert Everett, Golshifteh Farahani, and Pierre Niney also star.
Olivia Hetreed and José Luis López-Linares wrote the screenplay about the father and daughter, whose achievement earns academic plaudits but scandalises their family for its empirical contradiction of the teachings of the Catholic Church.
Myriad Pictures will be showing exclusive first-look footage from the English-language film that shot on location in Spain.
Lucrecia Botín and Alvaro Longoria from Spain’s Morena Films produced Altamira with Andy Paterson from the UK’s Sympathetic Ink.
Alexandra Lebret of France...
Myriad holds sales rights to Altamira excluding Spain/Andorra, Germany, Austria, Switzerland and Latin America – where Fox International will distribute – to the true story about an archaeologist and his daughter whose discovery of historic cave paintings sparks a firestorm.
Hugh Hudson (Chariots Of Fire) directed and Rupert Everett, Golshifteh Farahani, and Pierre Niney also star.
Olivia Hetreed and José Luis López-Linares wrote the screenplay about the father and daughter, whose achievement earns academic plaudits but scandalises their family for its empirical contradiction of the teachings of the Catholic Church.
Myriad Pictures will be showing exclusive first-look footage from the English-language film that shot on location in Spain.
Lucrecia Botín and Alvaro Longoria from Spain’s Morena Films produced Altamira with Andy Paterson from the UK’s Sympathetic Ink.
Alexandra Lebret of France...
- 2/4/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Altamira
Director: Hugh Hudson // Writers: Olivia Hetreed, José Luis López-Linares
Hudson, notably the director of 1981 Best Picture winner Chariots of Fire, hasn’t helmed a feature since the lambasted 2000 Kim Basinger film I Dreamed of Africa, a noted passion project for the actress. His latest, Altamira, looks to be a historical reenactment, and will hopefully prove to be Hudson’s welcome return to feature films, which is why it makes our list. Banderas will play Marcelino Sanz de Sautuola, a Spanish jurist and amateur archeologist who made the discovery of the Altamira Cave with his nine-year-old daughter Maria. Featuring painting of bison, horses, a doe and human hands, made with charcoal and ochre, these were the first Paleolithic cave paintings of their type to be discovered.
Cast: Antonio Banderas, Golshifteh Farahani, Rupert Everett.
Producers: Morena Films’ Lucrecia Botín and Alvaro Longoria (7 Days in Havana), Sympathetic Ink’s Andy Paterson (The Railway Man...
Director: Hugh Hudson // Writers: Olivia Hetreed, José Luis López-Linares
Hudson, notably the director of 1981 Best Picture winner Chariots of Fire, hasn’t helmed a feature since the lambasted 2000 Kim Basinger film I Dreamed of Africa, a noted passion project for the actress. His latest, Altamira, looks to be a historical reenactment, and will hopefully prove to be Hudson’s welcome return to feature films, which is why it makes our list. Banderas will play Marcelino Sanz de Sautuola, a Spanish jurist and amateur archeologist who made the discovery of the Altamira Cave with his nine-year-old daughter Maria. Featuring painting of bison, horses, a doe and human hands, made with charcoal and ochre, these were the first Paleolithic cave paintings of their type to be discovered.
Cast: Antonio Banderas, Golshifteh Farahani, Rupert Everett.
Producers: Morena Films’ Lucrecia Botín and Alvaro Longoria (7 Days in Havana), Sympathetic Ink’s Andy Paterson (The Railway Man...
- 1/5/2015
- by Nicholas Bell
- IONCINEMA.com
First image released of period drama from Chariots of Fire director Hugh Hudson.
Principal photography has begun on period drama Altamira, directed by Hugh Hudson (Chariots of Fire, Greystoke) and starring Antonio Banderas.
Production will take place on location in Northern Spain.
The English-language production also stars Golshifteh Farahani, Nicholas Farrell, Henry Goodman, Pierre Niney, Clément Sibony, Tristan Ulloa, Irene Escolar and Rupert Everett. British actress Allegra Allen makes her film debut.
The screenplay is by Olivia Hetreed (Girl with a Pearl Earring; Wuthering Heights) and Jose Luis Lopez-Linares. José Luis Alcaine (The Skin I Live In) is the cinematographer.
Producers are Lucrecia Botín, Alvaro Longoria from Spain’s Morena Films and Andy Paterson from the UK’s Sympathetic Ink. Alexandra Lebret, of France’s Mare Nostrum co-produces with Laura Bickford as executive producer.
The film tells the true story of nine-year old Maria (Allen) and her father Marcelino (Banderas) who, in 1879, found...
Principal photography has begun on period drama Altamira, directed by Hugh Hudson (Chariots of Fire, Greystoke) and starring Antonio Banderas.
Production will take place on location in Northern Spain.
The English-language production also stars Golshifteh Farahani, Nicholas Farrell, Henry Goodman, Pierre Niney, Clément Sibony, Tristan Ulloa, Irene Escolar and Rupert Everett. British actress Allegra Allen makes her film debut.
The screenplay is by Olivia Hetreed (Girl with a Pearl Earring; Wuthering Heights) and Jose Luis Lopez-Linares. José Luis Alcaine (The Skin I Live In) is the cinematographer.
Producers are Lucrecia Botín, Alvaro Longoria from Spain’s Morena Films and Andy Paterson from the UK’s Sympathetic Ink. Alexandra Lebret, of France’s Mare Nostrum co-produces with Laura Bickford as executive producer.
The film tells the true story of nine-year old Maria (Allen) and her father Marcelino (Banderas) who, in 1879, found...
- 10/7/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
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