|
00:00:06:23
|
Buenos días.
|
|
00:00:09:04
|
Everyone sorry that I don't speak Spanish.
|
|
00:00:13:14
|
That's not an issue...
|
|
00:00:16:19
|
So, allow me to continue in English.
|
|
00:00:21:04
|
I'm here from ARTE.
|
|
00:00:24:09
|
And ahead of fiction of ZDF ARTE
I'm going to explain what that means,
|
|
00:00:31:01
|
and therefore, I'm in charge for all
|
|
00:00:33:12
|
fictional programes coming
from the German site of ARTE
|
|
00:00:39:10
|
co-production, acquisitions of movies,
series, short films and TV dramas.
|
|
00:00:47:11
|
Maybe a lot of you have
heard about ARTE
|
|
00:00:50:13
|
Let me just go back in history to explain what it is.
|
|
00:00:53:00
|
ARTE was founded in 1991
|
|
00:01:00:00
|
and we went on air on May 1992.
|
|
00:01:06:10
|
So for now, 26 years we are on air.
|
|
00:01:11:06
|
ARTE is a
French, German cultural channel.
|
|
00:01:15:06
|
That means, cultural means that there are no sports
program, no entertainment program.
|
|
00:01:22:09
|
It's a public broadcasting system.
|
|
00:01:24:23
|
So there is no commercials,
no advertising.
|
|
00:01:28:22
|
The focus is on fiction and documentaries.
|
|
00:01:33:12
|
We have, of course, other programs
like ballet operas, from time to time.
|
|
00:01:41:13
|
Um, but the programs are
not just French or German.
|
|
00:01:46:00
|
It's European.
|
|
00:01:47:02
|
We consider ourselves
as a European channel.
|
|
00:01:49:21
|
And there since the very beginning,
I started the cinema department
|
|
00:01:55:17
|
in the headquarter,
which is based in Strasbourg.
|
|
00:01:59:14
|
I have to imagine,ARTE from the
professional interest...
|
|
00:02:04:23
|
... imagine it like a triangle:
|
|
00:02:07:23
|
We have one side: it's a French side called ARTE FRANCE
|
|
00:02:11:19
|
and then you have the German ARTE side
|
|
00:02:15:02
|
which are shareholders of the broadcaster
|
|
00:02:18:11
|
in the middle,
which is based in Strasbourg.
|
|
00:02:21:22
|
So in Strasbourg,
|
|
00:02:24:14
|
what is done there, is the programming.
|
|
00:02:27:23
|
It's a definition of the slots.
It's a second language version,
|
|
00:02:34:07
|
or we have more language versions
|
|
00:02:37:09
|
and
|
|
00:02:39:03
|
the shareholders are financed,
|
|
00:02:41:20
|
our artists is one of the shareholders.
|
|
00:02:45:02
|
So we finance ARTE basically
|
|
00:02:49:14
|
for everything like that administration,
|
|
00:02:51:21
|
the salaries of the people working
in Strasbourg,
|
|
00:02:54:07
|
but basically the programmes we
deliver to ARTE to be shown on ARTE.
|
|
00:03:01:23
|
I started my career
inside the artist system
|
|
00:03:06:00
|
which I kind of
co-created with other people
|
|
00:03:10:11
|
in Strasbourg, as I said,
|
|
00:03:12:17
|
and then became very quickly the head
of the cinema department there
|
|
00:03:16:15
|
being in charge to develop the profile,
the editorial profile in terms of movies
|
|
00:03:24:08
|
together with the German and the French site.
|
|
00:03:26:09
|
We very quickly decided
to focus on European movies.
|
|
00:03:35:06
|
We very quickly decided also not just
to buy films, but also to invest in films,
|
|
00:03:42:07
|
co-produced films,
which we are doing since then.
|
|
00:03:46:13
|
And we are basically working on
what you say Auteur cinema,
|
|
00:03:53:09
|
so director driven movies.
|
|
00:03:58:13
|
So over the years we sharped that profile.
|
|
00:04:03:12
|
We became the French and the German site
ARTE particular
|
|
00:04:10:20
|
we became, I think, one of the
driving forces for an independent cinema.
|
|
00:04:18:17
|
In the moment we are producing
|
|
00:04:21:03
|
in my department, we are co-producing,
I would say, about 20 movies per year.
|
|
00:04:29:18
|
20 to between twenty five.
|
|
00:04:31:23
|
The French said it's about the same
|
|
00:04:34:18
|
and movies means movies that are decided for theatrical release
|
|
00:04:39:01
|
and not just for TV.
|
|
00:04:44:09
|
We are
|
|
00:04:46:13
|
facing nowadays this later, of course,
new competitors, you know,
|
|
00:04:51:09
|
the streaming platforms
which are starting to chase the directors
|
|
00:04:56:00
|
we're working with or
buy them out already.
|
|
00:05:00:01
|
So that's an issue for the future.
|
|
00:05:02:01
|
But for the moment,
|
|
00:05:04:06
|
we still survive instantly when
the market changes, of course.
|
|
00:05:10:21
|
So we have to.
|
|
00:05:11:17
|
In the beginning of October, we were
the only one working in European films.
|
|
00:05:16:17
|
And when I moved
in the year 2000 and moved to the ZDF.
|
|
00:05:22:10
|
So out of ARTE, directly to one of the shareholders,
|
|
00:05:26:19
|
,
and I became in charge of fictional programs.
|
|
00:05:30:13
|
Since then I developed
|
|
00:05:33:00
|
the more... our profile
became more international.
|
|
00:05:37:21
|
It is no more just just European films.
|
|
00:05:42:05
|
We are now co-producing films all over
the world, basically in Latin America,
|
|
00:05:48:07
|
and starting something
already in South East Asia
|
|
00:05:53:22
|
and to try to support filmmakers
|
|
00:05:56:17
|
which have difficulties to get their
films financed in their own countries.
|
|
00:06:01:13
|
So international co-productions
are kind of survival for them.
|
|
00:06:07:22
|
We work closely together in my department
|
|
00:06:10:17
|
with theatrical distributors
and also real estate company in order
|
|
00:06:15:23
|
to find strategies for the
films we are involved in
|
|
00:06:20:23
|
and in that respect,
|
|
00:06:23:02
|
I think the only one
in Europe working like this
|
|
00:06:27:08
|
nowadays
|
|
00:06:29:15
|
we have...
|
|
00:06:31:14
|
So I'm always asked what kind of films
|
|
00:06:36:22
|
you're looking for and I don't
really have an answer for that.
|
|
00:06:41:07
|
We are open to all kinds of things.
|
|
00:06:44:05
|
We...
|
|
00:06:46:22
|
We work with first time directors as well
|
|
00:06:49:11
|
as the established directors
and we work with established producers as
|
|
00:06:55:17
|
well as new producers will
be quite open with this.
|
|
00:06:58:18
|
We have developed...
We have different budgets.
|
|
00:07:02:17
|
So one is designed more for beginners
|
|
00:07:06:01
|
for the first, second and third film.
|
|
00:07:09:23
|
And then another budget is
for more established directors
|
|
00:07:15:09
|
of filmmakers and another budget
is for acquisitions.
|
|
00:07:21:01
|
And inside of acquisitions is
something what we call it's a "prebuy".
|
|
00:07:26:06
|
So we are not actually coproducer,
|
|
00:07:28:22
|
but more like a financial investor based
either on the script or on the rough cut.
|
|
00:07:35:15
|
We started working with a lot of projects
|
|
00:07:39:06
|
and in quite an early phase, depends
on the director, we came with
|
|
00:07:45:20
|
just the idea with the speech
|
|
00:07:48:20
|
from a director to me or one
|
|
00:07:50:18
|
of my colleagues and goes to the treatment
also, the treatment...
|
|
00:07:55:11
|
... nowadays, I think,
it's not that necessary, frankly.
|
|
00:07:58:05
|
It's make it more difficult.
|
|
00:08:00:04
|
So and then we
|
|
00:08:03:06
|
we
|
|
00:08:05:00
|
started working with writers and directors
and producers on the script,
|
|
00:08:10:12
|
and so we're working with them until the
script project is ready to shoot.
|
|
00:08:16:11
|
Parallel to this is the financing.
|
|
00:08:18:17
|
We are ZDF, which is Germany's biggest
national broadcaster, public broadcaster.
|
|
00:08:27:01
|
We have broadcasters and you said
the and was national and public
|
|
00:08:32:19
|
and with several channels
and activities is one of them.
|
|
00:08:38:14
|
So ZDF is, for example,
|
|
00:08:42:20
|
financing or co-financing
all the funds in Germany.
|
|
00:08:46:12
|
Film production in Germany is basically
|
|
00:08:49:12
|
financed through public funds,
regional and national funds.
|
|
00:08:53:04
|
And ZDF is in all of these funds
|
|
00:08:56:13
|
with money and with people
in the commission.
|
|
00:08:59:07
|
So we have quite
an influence on what and how
|
|
00:09:04:11
|
other financial structures of films,
which we are involved in.
|
|
00:09:12:06
|
We went to his script.
|
|
00:09:14:16
|
Of course, the story for us
is something important.
|
|
00:09:18:17
|
We like contemporary stories.
|
|
00:09:21:12
|
Often we go back, sometimes
we have historical ones.
|
|
00:09:24:11
|
If it's of any interest,
|
|
00:09:27:23
|
We... I try to avoid projects which deal
with the Second World War, for example.
|
|
00:09:35:06
|
We have enough of that to be seen.
|
|
00:09:38:23
|
So, it's basically contemporary stories.
|
|
00:09:41:16
|
And this part of my department which deals
|
|
00:09:44:22
|
with beginners, it's only
contemporary stories.
|
|
00:09:47:11
|
So the idea is really to discover in Europe
|
|
00:09:54:12
|
worlds or circumstances on that other people live,
|
|
00:10:01:15
|
it's like you see it like a journey
|
|
00:10:05:09
|
through European landscapes and cities
and mentalities and things.
|
|
00:10:11:02
|
And, well, this is also international.
|
|
00:10:13:16
|
So that's our basic concept in reading our approaching to scripts.
|
|
00:10:21:06
|
And then, of course, is.
|
|
00:10:24:04
|
The the signature of the director,
|
|
00:10:28:04
|
which is was important,
|
|
00:10:31:00
|
if you talk about
|
|
00:10:33:16
|
established directors,
or more known directors.
|
|
00:10:36:12
|
If you ever drop some names, you might
understand what I'm talking about.
|
|
00:10:40:17
|
So, we were working with
|
|
00:10:44:08
|
in Europe, with Lars von Trier,
|
|
00:10:47:11
|
Ben Hamo,
|
|
00:10:49:22
|
Claire Denis,
|
|
00:10:55:04
|
Aki Kaurismaki,
|
|
00:10:59:10
|
Anderson
|
|
00:11:03:00
|
we've got some more known names,
but also of young directors,
|
|
00:11:10:03
|
which we like right now with the Turkish
|
|
00:11:13:13
|
director, called Emin Alper,
third film, which we co-produced.
|
|
00:11:18:20
|
We have a Greek director, Syllas Tzoumerkas
|
|
00:11:22:17
|
which is also a third film,
which we co-produced.
|
|
00:11:26:12
|
Both films just about to be
ready and shown.
|
|
00:11:31:14
|
I don't know when I'll come
|
|
00:11:33:18
|
and mentioning this festival that is also
|
|
00:11:36:17
|
one of the criterias when
we go in to work on projects
|
|
00:11:43:16
|
for us, it's important and I think
of our experience required and all
|
|
00:11:51:23
|
we know well, which kind of film might
|
|
00:11:54:16
|
have a chance to be selected
for a major festival,
|
|
00:11:58:22
|
as you can imagine, for all this
|
|
00:12:01:20
|
Auteur driven cinema films,
|
|
00:12:03:15
|
it's important to have a festival or a big
festival as a platform for the visibility
|
|
00:12:09:06
|
of the film, for the reputation
it starts to the year,
|
|
00:12:13:00
|
and that as a broadcaster,
|
|
00:12:15:02
|
when we show the film, we can
profit from that in the last years.
|
|
00:12:19:23
|
We also start, for example,
because it's not only the production we're
|
|
00:12:24:00
|
talking, we have to think about
also how the food can be seen.
|
|
00:12:28:13
|
So we are working on on the social media.
|
|
00:12:34:16
|
So following the film on social media.
|
|
00:12:37:14
|
So we think that it's important to do we
|
|
00:12:41:14
|
produce for our website interviews
with the directors of the actors,
|
|
00:12:48:09
|
which will be shown then when the film is
premiered somewhere in the cinemas
|
|
00:12:53:03
|
and later when it's screened
on ARTE you can you can see it again.
|
|
00:12:58:17
|
We experiment with sort of
|
|
00:13:03:05
|
the making of VR making-ofs , VR film
|
|
00:13:09:13
|
short on the set during
the filming of a film.
|
|
00:13:14:05
|
So we do all kind of things to to to start
the creative promotion of the projects
|
|
00:13:20:09
|
which we are involved in.
|
|
00:13:25:16
|
ARTE is a separate station, which
|
|
00:13:29:10
|
it's kind of, you know,
that it was an idea of.
|
|
00:13:33:10
|
Président François Mitterand,
|
|
00:13:35:02
|
and the German chancellor
Helmut Kohl, you know,
|
|
00:13:40:06
|
France and Germany come together again
getting closer and so,
|
|
00:13:45:07
|
apart the Airbus industry,
which is basically French or German, they
|
|
00:13:48:13
|
thought something cultural has to happen
and the result of it was ARTE.
|
|
00:13:54:06
|
And so in the very beginning,
it was very interesting to see two
|
|
00:13:59:14
|
different mentalities of working
and working together, of decision making.
|
|
00:14:04:19
|
And
|
|
00:14:06:16
|
interestingly enough, there was never,
|
|
00:14:08:22
|
ever, ever really a difference in in our
in our relation with movies.
|
|
00:14:16:10
|
So the drama side
|
|
00:14:19:20
|
represented basically by me,
|
|
00:14:21:12
|
I have to say, and my French colleagues,
we kind of agreed on what kind of movies
|
|
00:14:26:13
|
we like, what kind of movies we should
co-produce or aquire for ARTE.
|
|
00:14:32:11
|
And we fought for
|
|
00:14:36:22
|
slots
|
|
00:14:38:19
|
in in prime time to show European films,
basically in the original version
|
|
00:14:47:08
|
in prime time.
|
|
00:14:48:18
|
And that was very successful
in the beginning.
|
|
00:14:51:00
|
But it's a very complicated structure.
|
|
00:14:53:02
|
It's like, you know,
like a political thing.
|
|
00:14:56:02
|
So the people, you know,
directors of programming, president may
|
|
00:15:00:19
|
change all the time,
like every four or five years or so when
|
|
00:15:04:16
|
it's finished and it's German
and each one has his new ideas.
|
|
00:15:08:04
|
And unfortunately,
|
|
00:15:09:10
|
after seeing over the last year of cinema,
is the victim of all these new ideas.
|
|
00:15:14:04
|
So the ratings, which didn't
play any role in the beginning,
|
|
00:15:20:19
|
and they shouldn't actually in a cultural
program, ratings became more an obsession
|
|
00:15:26:04
|
of the people, you know,
presidents and directors or whatever.
|
|
00:15:30:01
|
So I think that movies,
|
|
00:15:32:12
|
especially this kind of movies we are
co-producing, are not good for ratings.
|
|
00:15:36:23
|
So it's getting more
and more difficult to even .
|
|
00:15:39:13
|
This comes to be green lighted
|
|
00:15:42:00
|
and later and if this comes
to be programmed on a,
|
|
00:15:46:00
|
you know, at a time of the day,
which people are still awake.
|
|
00:15:51:21
|
Also, one of the major things which
|
|
00:15:55:10
|
occured over the last two years is that
they want all the films to be dubbed.
|
|
00:16:00:20
|
I mean, it's been you have all
|
|
00:16:02:03
|
of that tradition movies being dumped
for theatrical release in France.
|
|
00:16:07:12
|
It was the of the case,
but nowadays it's too.
|
|
00:16:10:11
|
So all the films and French TV
are dubed in Germany.
|
|
00:16:13:13
|
It was soon after the war
we started dubbing.
|
|
00:16:18:05
|
And that is kind of devastation.
|
|
00:16:20:12
|
it's kind of losing a bit
|
|
00:16:22:02
|
its originality, I'd say.
|
|
00:16:26:02
|
So we always understand
our mission still is.
|
|
00:16:29:05
|
So we have to find programs and that it's
not just movies or documentaries
|
|
00:16:36:00
|
which kind of
|
|
00:16:39:01
|
incorporate the European idea of,
|
|
00:16:41:16
|
you know, no borders and free
exchange of expression and visions.
|
|
00:16:48:15
|
And that is going back under this,
|
|
00:16:52:23
|
I would say,
under the pressure of the ratings,
|
|
00:16:55:20
|
which is something which is not good for
any culture or TV in whatever country.
|
|
00:17:03:07
|
I think..
|
|
00:17:05:00
|
... Also nowadays some
corporations with other countries.
|
|
00:17:09:20
|
At the moment I think it's Austria,
Switzerland, Finland and Belgium,
|
|
00:17:18:16
|
Czech Republic, Luxembourg,
|
|
00:17:22:18
|
there was once with Spain, I think
that stopped and, you know, with Italy
|
|
00:17:29:19
|
and stoped also after the new government.
|
|
00:17:34:09
|
So and that exchange needs
|
|
00:17:36:22
|
a corporation and certain programs,
either fictional or documentary.
|
|
00:17:41:15
|
So when the budget comes from
the public broadcasting,
|
|
00:17:45:05
|
let's say the Czech Republic
and from ARTE, so it's a combined budget.
|
|
00:17:54:09
|
Yes, so we are
|
|
00:17:57:09
|
we are still believing, you know,
|
|
00:17:59:06
|
basically in cinema and in quality cinema,
although we, of course,
|
|
00:18:04:18
|
have to face the fact that in theatrical
cinema it's going down and even on TV.
|
|
00:18:12:09
|
And just last year, for example,
|
|
00:18:15:13
|
to show you what the tendency
is in Germany is
|
|
00:18:19:06
|
we act in
|
|
00:18:22:05
|
foreign films in Germany,
in German TV, free TV, not pay TV,
|
|
00:18:29:10
|
TV premiere.
|
|
00:18:30:11
|
So when they were shown for the first time
in Germany, we had , in 2008,
|
|
00:18:35:10
|
513 premieres
and to 2017
|
|
00:18:42:05
|
445.
|
|
00:18:48:22
|
So it's going down.
|
|
00:18:51:19
|
Also, the number of foreign
films in German TV
|
|
00:18:55:22
|
dropped from 10800 and something
|
|
00:18:58:15
|
to 8300
|
|
00:19:01:18
|
is an enormous number.
|
|
00:19:03:01
|
You have to know
|
|
00:19:05:00
|
that in German TV and we have like 35 or
40 free TV channels, private and public.
|
|
00:19:14:13
|
I think it's like 12000 to 13000
films being shown per year.
|
|
00:19:21:10
|
In other companies have to have an ARD,
|
|
00:19:24:18
|
and so it is a shareholders of ARTE in Germany
|
|
00:19:30:00
|
premiered movies which are shown
for the first time on TV droped from 2013
|
|
00:19:35:21
|
from 107
to 91.
|
|
00:19:39:23
|
ARTE, and that is an exception,
|
|
00:19:42:11
|
2013, we had 74 premieres
|
|
00:19:47:00
|
and in 2017, 97.
|
|
00:19:53:05
|
So it's an increase.
|
|
00:19:55:16
|
The same goes generally for movies
|
|
00:20:00:13
|
in the Public Broadcasting System.
|
|
00:20:02:21
|
It dropped from 866 to 780.
|
|
00:20:07:10
|
Whereas in ARTE we
|
|
00:20:10:15
|
and it's a small channel, we raised
|
|
00:20:15:00
|
from 2013 to 2017 from 346 to 361.
|
|
00:20:23:11
|
So that's like range, which still
shows that movies in ARTE
|
|
00:20:27:19
|
is a major asset in the program.
|
|
00:20:30:08
|
More generally on TV and in Germany,
but also in Europe,
|
|
00:20:36:06
|
the number of films is going down.
|
|
00:20:40:21
|
It's replaced by serious
|
|
00:20:44:07
|
one of this because I'm in charge
of a series as well, mini series.
|
|
00:20:50:20
|
And and the variety of films is not
that big in in at least in German TV.
|
|
00:20:59:00
|
And I think in France it's
more or less the same.
|
|
00:21:02:00
|
So
|
|
00:21:04:09
|
most of the films and German TV
are American movies.
|
|
00:21:10:08
|
The second
|
|
00:21:12:07
|
highest number of films is German movies
|
|
00:21:19:00
|
than French and British.
|
|
00:21:21:16
|
It's about the same like 2017,
because on that they have to act like
|
|
00:21:27:18
|
twenty one films from France
and forty one from the UK and two
|
|
00:21:33:00
|
from Spain.
|
|
00:21:35:10
|
They had like in last year,
|
|
00:21:38:13
|
eight hundred one hundred eighty
American movies, basically classic.
|
|
00:21:44:12
|
We had 140 German films
|
|
00:21:47:20
|
and two French films and fifty three
from the UK and none of Spain.
|
|
00:21:59:03
|
But that's going to change hopefully.
|
|
00:22:01:13
|
So
|
|
00:22:03:03
|
this year four countries,
|
|
00:22:06:21
|
France, Germany, the US and the UK are
in general and German TV, for example,
|
|
00:22:12:06
|
the most dominant countries,
and Spain depends and Italy is the same
|
|
00:22:18:04
|
and and the rest of the
world is even worse.
|
|
00:22:21:13
|
I have to say,
|
|
00:22:24:00
|
I think we are the only one
|
|
00:22:26:07
|
in Germany showing films from China,
for example, or from Japan.
|
|
00:22:37:00
|
And as one German private TV channel
|
|
00:22:41:13
|
shows,
some Chinese are more like Hong Kong
|
|
00:22:44:13
|
movies like, you know,
this martial art things,
|
|
00:22:48:16
|
but the quality of films from Asia,
it's only the ones showing that these
|
|
00:22:55:20
|
films are acquired by us
and by our French partners.
|
|
00:23:02:23
|
How do you approach acting?
|
|
00:23:07:11
|
And as I said very often,
|
|
00:23:09:13
|
maybe not the people you worked
with before, with the directors,
|
|
00:23:13:00
|
we start maybe from the idea that come
to me and say, listen,
|
|
00:23:16:16
|
I have that story about the woman
and the boy and, you know,
|
|
00:23:21:02
|
this kind of thing.
So we just start discussing it
|
|
00:23:23:06
|
for a scribble and then back to the toward
the and then comes a script.
|
|
00:23:28:17
|
And we continue to discuss.
|
|
00:23:30:06
|
Now, basically, is
|
|
00:23:34:11
|
our system of production works like it's
good for France as well as for Germany.
|
|
00:23:40:11
|
So if it's, let's say, a project
from Spain, as I'm sitting here,
|
|
00:23:47:04
|
it has to have a German,
|
|
00:23:48:19
|
when you work with us, German coproducer and
|
|
00:23:51:06
|
you work with the French side,
you have to have a French coproducer.
|
|
00:23:56:11
|
These producers
|
|
00:23:59:01
|
submit a project to us.
|
|
00:24:01:20
|
On the French side,
|
|
00:24:06:00
|
the French side decides they have a reading
committee and then a selection committee.
|
|
00:24:11:07
|
So the results from the reading committee
|
|
00:24:14:01
|
are presented by my colleague
and the Finnish side to his selection
|
|
00:24:17:18
|
committee, and they vote on their
decide upon the project.
|
|
00:24:22:14
|
We have a bit different system.
|
|
00:24:25:12
|
We don't have a reading committee.
|
|
00:24:27:15
|
I mean, we are all reading all
my stuff is reading, of course.
|
|
00:24:31:14
|
And then I make the decision
|
|
00:24:34:06
|
after all the discussions about
the project and discussing the group.
|
|
00:24:37:19
|
And then I make a final decision,
|
|
00:24:39:16
|
but I have to submit
the project then to ARTE, the broadcast,
|
|
00:24:45:20
|
remember, the triangle in the middle, and they decide
upon there's a board who decides on every
|
|
00:24:51:03
|
single program coming from the French
or from the German side.
|
|
00:24:54:22
|
It's called a conference of program and
it's made all of people in Strasbourg.
|
|
00:24:59:12
|
So the director of programming,
|
|
00:25:01:00
|
as well as the German and French
representative of the system.
|
|
00:25:04:02
|
So they're discussing this
and about the project.
|
|
00:25:06:17
|
And it's a slightly different
|
|
00:25:08:23
|
way of working, for example,
|
|
00:25:10:21
|
why we say it's necessary
for us to overturn corporatism.
|
|
00:25:14:12
|
First, our legal department is happy
because they can make the contract
|
|
00:25:18:00
|
in German and not in another
language they don't know.
|
|
00:25:22:13
|
The second,
|
|
00:25:24:09
|
as I mentioned, that the F is a partner,
|
|
00:25:27:04
|
a member of all of these funds,
regional funds and national funds.
|
|
00:25:31:06
|
A producer can submit this project to one
of the funds,
|
|
00:25:35:08
|
basically the region where either he
shoots or he's living or he has his office
|
|
00:25:42:00
|
and he can get an additional, you know,
|
|
00:25:45:15
|
additional money for for them,
for the budget of the film.
|
|
00:25:49:15
|
Of course, in Germany,
|
|
00:25:51:00
|
it's like you have to spend the money
you receive from one regional fund.
|
|
00:25:55:10
|
You have to spend usually like one hundred
and fifty percent of it in the region.
|
|
00:25:59:19
|
And that can be done if it's not possible
to short, because when you shoot a film
|
|
00:26:03:23
|
in the desert African desert Sahara, it's
hard to find that somewhere in Germany.
|
|
00:26:09:23
|
So basically it would be either Talon's or
|
|
00:26:14:00
|
crew members, insurance
or production and etc.
|
|
00:26:17:18
|
, which would be done
in the region in Germany.
|
|
00:26:22:00
|
But the funds like to like to
|
|
00:26:25:02
|
like to be the films made in the region.
|
|
00:26:27:13
|
For example, last Trier, not the last one,
|
|
00:26:31:18
|
the Czech put his new film, which will be
released, I think it's been Sukma is one,
|
|
00:26:39:19
|
but the first before he shot
in and in North Hollywood studio,
|
|
00:26:44:00
|
which is the federal district in Germany,
where the richest regional fund.
|
|
00:26:49:07
|
So like
|
|
00:26:52:23
|
Christ and things like this,
they were ultrarich in Germany
|
|
00:26:56:13
|
because we have this dark forest
and he loves that.
|
|
00:27:00:05
|
And it's very easy
and a good crew and so on.
|
|
00:27:04:11
|
But it has to do with the fact that we are
very involved in that and the funds were
|
|
00:27:09:17
|
involved in it and so the money
could be spent in the region.
|
|
00:27:13:17
|
So also a lot of films
|
|
00:27:16:14
|
from other countries partly shop,
for example, and some German region.
|
|
00:27:20:21
|
When when you talk about interiors,
|
|
00:27:23:18
|
I could produce the film
in Israel, an Israeli film
|
|
00:27:29:00
|
will give on quality,
|
|
00:27:31:03
|
will make the band's visit his next film
|
|
00:27:33:11
|
after this was the time you shot
in the studio.
|
|
00:27:38:10
|
And no, we're not in the studio
|
|
00:27:39:21
|
in a hangar near Frankfurt in an abandoned
hangar of the US Army in Frankfurt.
|
|
00:27:46:21
|
And so they've transported an old
|
|
00:27:49:00
|
apartment and made the film
basically played in one apartment.
|
|
00:27:52:13
|
So and the apartments are small.
|
|
00:27:55:13
|
So they kind of brought everything
|
|
00:27:57:12
|
from Israel, for example,
to create an apartment only do the rooms
|
|
00:28:02:18
|
were larger than they actually
are because when they were.
|
|
00:28:06:11
|
The camera movements and yes, oh,
and the phone, see if we can do that,
|
|
00:28:12:19
|
as long as there are kids involved and we
know that the film will have a career
|
|
00:28:17:03
|
and it will be shown
at the entrance and an and on TV.
|
|
00:28:22:08
|
So this is a reason why we say,
you know, it makes sense for us to have
|
|
00:28:27:11
|
a German coproducer.
|
|
00:28:28:18
|
I'm born in France.
|
|
00:28:30:17
|
It's crazy to see how
|
|
00:28:35:22
|
the system is a bit more rigid
|
|
00:28:38:06
|
than in Germany and still less flexible
for coal production in France,
|
|
00:28:44:03
|
also with Arctic funds than
it is on the German side,
|
|
00:28:48:08
|
but basically from the structures.
|
|
00:28:51:00
|
So we have to find a French
producer in order for you to
|
|
00:28:56:23
|
produce a film,
a feature film with with Aki.
|
|
00:29:05:14
|
Then
|
|
00:29:07:12
|
what happens, then you shoot the film
and then it's fine and we come back
|
|
00:29:13:00
|
from either maybe going to
send someone to make something about
|
|
00:29:17:11
|
the shooting, my French
colleague, who always goes to the shooting
|
|
00:29:21:17
|
because he is interviewing
the director for his block
|
|
00:29:26:22
|
and we don't do that.
|
|
00:29:29:00
|
And we come back.
I'm like the French.
|
|
00:29:31:09
|
So we come back for the Oscar
|
|
00:29:34:16
|
and we discuss with the director,
of course, the rough cut,
|
|
00:29:38:22
|
the different versions and discussing
means we are not imposing anything.
|
|
00:29:45:09
|
So it's always the filmmakers film.
|
|
00:29:47:22
|
In the end, it's not often.
|
|
00:29:49:16
|
So respect his vision, his convictions,
|
|
00:29:53:12
|
but we try to be as
helpful as possible with all our
|
|
00:29:59:12
|
experience and maybe knowledge
and simple questions.
|
|
00:30:04:02
|
Why is that?
Their way is not working.
|
|
00:30:06:11
|
Don't you think we need
that scene in that scene?
|
|
00:30:10:06
|
It's distracting.
So we were trying to it's a dialogue.
|
|
00:30:13:18
|
Basically, it's a a and
basically it's some directors
|
|
00:30:18:08
|
and others don't.
|
|
00:30:21:10
|
Others don't even talk about the after
show character,
|
|
00:30:26:01
|
especially over the last two years
of funny for me, a couple
|
|
00:30:30:13
|
of the last five or six,
Ichiko was making films, for example, and
|
|
00:30:37:06
|
there was something
in the beginning which I have an idea on.
|
|
00:30:42:01
|
OK, and then came a script
by shooting next month.
|
|
00:30:48:09
|
It was not very script kind of script
and I said, OK, because you don't want to
|
|
00:30:53:13
|
what he does and then
you don't hear nothing.
|
|
00:30:56:23
|
And then an invitation comes, OK,
come for the screening.
|
|
00:31:01:17
|
And he calls it as a screening
of family and friends.
|
|
00:31:04:12
|
So us it's a rough cut
|
|
00:31:06:14
|
and but the film is completely
finished with English subtitles.
|
|
00:31:12:14
|
So when it's perfect,
so there's no no dialogue, nothing.
|
|
00:31:16:11
|
It's only the beginning and the end
and the beginning is not our goal.
|
|
00:31:20:22
|
And in the end is a lot of alcohol goal,
even more Alako when the film is finished
|
|
00:31:25:07
|
and being invited to to a festival
and there a party and then that's it.
|
|
00:31:32:08
|
And various other directors,
|
|
00:31:34:16
|
you can see my scene sometimes and
sometimes they need it or they want it
|
|
00:31:41:06
|
and you try to improve the films.
|
|
00:31:45:21
|
So
|
|
00:31:47:15
|
the kind of films we are making, it's
|
|
00:31:51:02
|
the last year and tried to to to open
a bit the kind of films we do.
|
|
00:31:56:08
|
So we are not just the pure one,
it's called Arktos.
|
|
00:32:02:07
|
We do that as well with people like
Pinchuk on call time and director
|
|
00:32:10:11
|
with just now with the colors
they got us of ethical Mexico.
|
|
00:32:17:18
|
This is, you know, one side of the coin
and the others is like more
|
|
00:32:23:15
|
accessible films, more or
|
|
00:32:27:02
|
less artistic films, but still good films,
more entertaining films.
|
|
00:32:32:05
|
We are great now.
|
|
00:32:35:10
|
We invested in Spanish in Spanish
|
|
00:32:41:03
|
animation film about the young one year.
|
|
00:32:44:17
|
It's just finished now
and don't ask before the total.
|
|
00:32:47:22
|
Forget it.
|
|
00:32:48:22
|
It's animation film about the early years
of release when you when you become
|
|
00:32:54:20
|
a film maker.
|
|
00:32:57:16
|
I think it premiered on a special festival
|
|
00:32:59:22
|
and the festival animation
festival in Los Angeles just now
|
|
00:33:04:20
|
and won an award.
|
|
00:33:06:02
|
As far as I understand, we are
involved in a big production in Spain.
|
|
00:33:14:09
|
It's a trilogy.
|
|
00:33:16:00
|
The first one is ready and was more
less successful in Spanish cinemas.
|
|
00:33:22:02
|
The Invisible Guardian,
based on three novels by a writer called
|
|
00:33:27:05
|
Golos and Gondo, kind of mistake
for a new kind of thing.
|
|
00:33:31:19
|
So we decided to to invest in that
project, which is like it's a thriller.
|
|
00:33:38:08
|
It's a big production
and production value.
|
|
00:33:42:12
|
We also invested, for example,
which was in some of the bastion
|
|
00:33:47:09
|
in competition, high life
science fiction film
|
|
00:33:51:19
|
by the French director who was not known
|
|
00:33:56:02
|
whose films sort have I think
it's the festival program I saw.
|
|
00:33:59:20
|
So that is the latest film with
Robert Pattinson and Juliette Binoche.
|
|
00:34:04:00
|
So it's a bigger film also.
|
|
00:34:06:13
|
It's kind of strange,
unusual science fiction film,
|
|
00:34:10:17
|
so you see that variety between genre
and and and and the mixture.
|
|
00:34:19:12
|
And all of it was screened in Spain
|
|
00:34:22:03
|
about that film, a little
Portuguese movie called Boys.
|
|
00:34:25:02
|
Many Good Manners.
|
|
00:34:26:21
|
It's a well, wolf movie.
|
|
00:34:30:15
|
It's hard all, but it's like a werewolf.
|
|
00:34:35:07
|
It's also a drama.
|
|
00:34:37:11
|
It's a musical.
|
|
00:34:38:16
|
It's a romantic comedy.
|
|
00:34:41:02
|
So wild mixture of of styles.
|
|
00:34:45:21
|
So we try really to catch somehow of our
|
|
00:34:48:15
|
choices and what creates
the world cinema and its and its wishes.
|
|
00:34:56:05
|
And and at the same time,
we have to think about an audience.
|
|
00:35:01:02
|
And as I said, radio shouldn't
play a role, but they do.
|
|
00:35:05:00
|
So this is a reason why I am, for example,
invested in this Spanish trilogy,
|
|
00:35:12:18
|
also working with series.
|
|
00:35:15:18
|
I observe there is
a change in the reception
|
|
00:35:21:04
|
of series that is for
|
|
00:35:23:19
|
broadcasters
|
|
00:35:26:02
|
and the World Series on Amazon
|
|
00:35:28:09
|
and at Netflix and the so-called
binge watching on free TV.
|
|
00:35:33:21
|
That's a little problematic because your
program like one or two episodes per week.
|
|
00:35:39:15
|
So there's no binge watching
on free to be possible.
|
|
00:35:42:22
|
And you can see that, you know,
|
|
00:35:44:22
|
getting the ratings OC Weekly lessons
was going down, down and down.
|
|
00:35:49:15
|
Whereas when it's online and you do
everything online and also it's ratings
|
|
00:35:54:13
|
going up at the same time because
the people want to see it
|
|
00:35:57:23
|
as soon as possible and as complete
as possible in the shortest time.
|
|
00:36:03:06
|
So our conclusion from the point
of programming on free duty is to produce
|
|
00:36:11:14
|
trilogies.
|
|
00:36:12:21
|
So they mentioned Spanish one,
which will be shown when it's really like,
|
|
00:36:16:22
|
I don't know, on three days
or maybe on Monday.
|
|
00:36:20:13
|
We did a couple of years ago,
|
|
00:36:23:14
|
as many as the Swedish
one called Easy Money
|
|
00:36:27:10
|
with young directors,
|
|
00:36:29:23
|
and that was it.
|
|
00:36:31:11
|
It's a story about holding
the crime scene in Stockholm
|
|
00:36:36:11
|
from former who was living
in South America.
|
|
00:36:39:17
|
So there's no Swedish guy and almost no
|
|
00:36:41:21
|
police, and it's only
in the individual of gangsters.
|
|
00:36:47:02
|
And that was interesting because the first
two
|
|
00:36:50:08
|
of the three films were directed by young
directors with an immigrant background.
|
|
00:36:55:12
|
So one was from from from South America or
|
|
00:36:59:08
|
the parents refugees
and the other one from
|
|
00:37:04:12
|
Iran, so and so.
|
|
00:37:08:08
|
And that's sort of interesting.
|
|
00:37:09:23
|
So that a special point of view as
|
|
00:37:12:01
|
filmmakers on the society
they're living in.
|
|
00:37:16:14
|
So that is my whole point of view.
The series.
|
|
00:37:19:20
|
And Perugia's, I'm investing more and more
in this kind of trilogy's because I think
|
|
00:37:25:04
|
for free TV programming, that's
the way to catch to keep the audience.
|
|
00:37:30:08
|
We fixed
|
|
00:37:32:02
|
the first of this, which is that they have
Cocodrie, which was the Millennium saga,
|
|
00:37:36:00
|
which was the first in cinemas and then
on TV three months and six months.
|
|
00:37:40:14
|
And you had different edited version
|
|
00:37:44:04
|
and that was highly successful.
|
|
00:37:46:11
|
And it is still now this kind of this
formula works very well for a free TV.
|
|
00:37:58:03
|
What kind of city with is the.
|
|
00:38:00:09
|
So often maybe, I don't know if I can
actually show the website may be
|
|
00:38:06:07
|
one part of it now is there are some
programs where the rates are clear or
|
|
00:38:12:09
|
they
|
|
00:38:13:18
|
are shown in different languages.
|
|
00:38:16:23
|
So it's Spanish, for example,
|
|
00:38:20:00
|
but also Polish.
|
|
00:38:21:10
|
I think the Italian nowadays.
|
|
00:38:24:13
|
I mean, you know a fact.
|
|
00:38:48:16
|
Everything on the.
|
|
00:38:54:15
|
And briefly to the Spanish side
immediately.
|
|
00:39:06:02
|
All of these are future films.
|
|
00:39:08:10
|
So it's basically documentaries.
|
|
00:39:16:15
|
So he then conceded
|
|
00:39:19:12
|
that suspending some.
|
|
00:39:22:04
|
Click here, you see the other languages.
|
|
00:39:26:22
|
It's like French, German, of course,
English, Polish and Italian.
|
|
00:39:31:21
|
And these are
|
|
00:39:36:03
|
these are films made documentaries
where we have the rights,
|
|
00:39:42:17
|
which are subtitled in Spanish.
|
|
00:39:45:09
|
And then
|
|
00:39:49:04
|
and the idea is to make
|
|
00:39:53:21
|
sure we don't have partners
|
|
00:39:55:07
|
in the countries TV station like in Spain
for the moment.
|
|
00:39:59:12
|
It's anyway to to spread the programs
|
|
00:40:03:18
|
in as many countries as possible
because I think it's financed
|
|
00:40:08:08
|
this is financed by the EU.
I think.
|
|
00:40:12:00
|
Right.
|
|
00:40:12:08
|
If you're on to something for the Russians
and you could see what kind of films you
|
|
00:40:19:00
|
can see on TV, what kind
of documentaries you can see on afte.
|
|
00:40:26:09
|
As I said, there's no movie
because we don't have the rights.
|
|
00:40:32:09
|
But there is something about
|
|
00:40:36:09
|
what Active could co-produced a film
called The Bible for US
|
|
00:40:42:04
|
and the documentary, and I think we can
buy some films of possibility to show it.
|
|
00:40:49:09
|
Sowe have one art.
|
|
00:40:52:02
|
We have at the moment officially
five slots for films.
|
|
00:40:56:00
|
It's on Sunday.
|
|
00:40:57:09
|
And this is kind of like family films.
|
|
00:41:01:00
|
Good for the ratings.
|
|
00:41:02:06
|
Unfortunately, most of them were American
|
|
00:41:06:06
|
on Mondays and primetime.
|
|
00:41:09:15
|
We have classic cinema,
a lot of them Americans and French.
|
|
00:41:16:14
|
And then in the second half we have
|
|
00:41:18:07
|
something called Ketel Club,
which is more like genre films.
|
|
00:41:22:22
|
This can be from all over the world.
|
|
00:41:25:16
|
On Wednesday in primetime, we have
|
|
00:41:31:00
|
European premiere European International
and a new set of our new films.
|
|
00:41:37:12
|
And later in the evening,
we have a different second slot
|
|
00:41:41:03
|
for what you call discoveries,
where our films basically co-production,
|
|
00:41:46:19
|
where our film shown, which may be
less accessible or half an age rating
|
|
00:41:53:19
|
so that we can show that
in in in the primetime.
|
|
00:41:57:17
|
So these are five slots
per week, per week.
|
|
00:42:01:16
|
Then we have another one.
|
|
00:42:05:12
|
Thursday's series
followed very often by a film than we have
|
|
00:42:12:15
|
on Friday, we have TV drama
and in Germany, the difference between
|
|
00:42:18:12
|
a TV drama and the film is
almost non-existent
|
|
00:42:23:04
|
because all the movies,
German films co-produced produced
|
|
00:42:26:22
|
by the TV drama departments
and the TV is involved.
|
|
00:42:30:22
|
And apart from that, we have
a short film program and magazine.
|
|
00:42:38:16
|
So I think that's the only magazine,
|
|
00:42:40:23
|
as far as I know,
who is talking about the short film makers
|
|
00:42:44:07
|
and the festivals and what kind
of trends are in whatever country
|
|
00:42:49:23
|
right now.
There was a special edition about
|
|
00:42:53:11
|
addition about Switzerland,
Swiss short film makers, for example.
|
|
00:42:57:21
|
And we have something
|
|
00:43:00:08
|
which I think not very
often you can see that it's
|
|
00:43:06:19
|
silent films,classics.
|
|
00:43:09:19
|
So especially from the that we
are very much involved in
|
|
00:43:15:12
|
in
|
|
00:43:17:14
|
the restoration.
|
|
00:43:19:01
|
And
|
|
00:43:21:08
|
and that's a French signal.
|
|
00:43:23:20
|
And there's a restoration of films
|
|
00:43:26:10
|
and in the production of co-production
of the musical score.
|
|
00:43:31:12
|
So
|
|
00:43:34:06
|
that means
|
|
00:43:35:23
|
if there is an existing score,
|
|
00:43:39:17
|
which may be usually they'd never compete.
|
|
00:43:42:10
|
So
|
|
00:43:45:11
|
we complete the score
in the sense of the original
|
|
00:43:50:05
|
or if there's no score available, we asked
|
|
00:43:55:08
|
modern composers to write a sound
track for a silent movie.
|
|
00:44:01:05
|
What we're looking there for a kind
of dialogue between modern music.
|
|
00:44:06:05
|
And I'm not talking about music.
|
|
00:44:08:04
|
It's more like, you know, contemporary
classical music and the silent film.
|
|
00:44:13:00
|
So we want to establish
a dialogue between these two mediums.
|
|
00:44:17:02
|
And this is very successful.
|
|
00:44:18:17
|
And usually it's combined with
public screenings or life
|
|
00:44:23:14
|
with an orchestra or whatever is
a band or an orchestra.
|
|
00:44:29:05
|
We do that every second year during the
film festival and our next project,
|
|
00:44:36:10
|
next year, 19 is a huge one.
|
|
00:44:40:02
|
It's a novel.
|
|
00:44:41:19
|
It's a French.
|
|
00:44:43:01
|
It's level.
|
|
00:44:44:17
|
The goals are because
it's like seven course the film.
|
|
00:44:50:00
|
So
|
|
00:44:51:17
|
we are
|
|
00:44:54:09
|
composing partly
we commissioned the composition
|
|
00:44:58:05
|
of for that film seven hours long,
which is really a task which will be
|
|
00:45:04:12
|
which will be performed live
in Berlin and in New York,
|
|
00:45:10:18
|
the festival.
|
|
00:45:13:21
|
So this is also one
aspect of kind of things.
|
|
00:45:16:22
|
What we do on art, especially on active
|
|
00:45:20:17
|
use here on the website,
is like what's rolling there?
|
|
00:45:24:03
|
That is what's
|
|
00:45:25:16
|
actually going on in the program right now
on Peterman's, the French series,
|
|
00:45:32:00
|
the team, its German,
Danish, Belgian serious
|
|
00:45:37:07
|
coconut's Lars.
|
|
00:45:40:06
|
And you can see them all online,
|
|
00:45:42:19
|
of course, and you can see them
on the normal TV
|
|
00:45:48:07
|
when I go to
|
|
00:45:50:11
|
the cinema website.
|
|
00:45:59:14
|
To see what was shown
|
|
00:46:02:21
|
now margin call,
|
|
00:46:06:10
|
I don't think I can tell you why
we shouldn't have him on TV.
|
|
00:46:11:00
|
Maybe it was available,
|
|
00:46:13:17
|
but the ratings were not that good.
I know that.
|
|
00:46:17:00
|
It's like
|
|
00:46:19:14
|
this is what I mentioned.
|
|
00:46:21:04
|
This is in cinemas right now and they have
produced and making off in 360 degrees.
|
|
00:46:28:05
|
So this is very interesting to go to go
|
|
00:46:31:00
|
on the set and see even more
than anybody else on the set,
|
|
00:46:36:07
|
because when you you know,
|
|
00:46:37:16
|
when you have these glasses,
you can go around, you see whatever.
|
|
00:46:41:08
|
It's quite amazing.
|
|
00:46:46:06
|
This is a documentary about.
|
|
00:46:52:13
|
We have a lot of is basically the French
|
|
00:46:54:18
|
said, to producing just for the Internet
and there are documentaries about certain
|
|
00:46:59:23
|
subjects,
you know, like here the farmers
|
|
00:47:02:17
|
in the cinemas or KISS's or
Cigarette's or whatever you find.
|
|
00:47:08:15
|
We put online masterclasses,
which were either held in
|
|
00:47:15:04
|
the Cinematheque in Paris or
in the Film Museum in Frankfurt, which
|
|
00:47:21:17
|
you can see the Kubic
exhibition here, which was
|
|
00:47:27:08
|
comes from Frankfurt.
|
|
00:47:31:08
|
These kind of things.
And you
|
|
00:47:33:23
|
can go down.
|
|
00:47:37:13
|
And when you click on this, you come
|
|
00:47:40:00
|
closer to that.
|
|
00:47:47:00
|
Some films are on demand for Internet
use, the short films,
|
|
00:47:55:13
|
and they stay like for one
month or three months, they're.
|
|
00:48:04:07
|
You see, we have we for a while
an experiment on a magazine or a silent.
|
|
00:48:15:05
|
Silent film makers and cinema,
|
|
00:48:18:01
|
American cinema,
and which is kind of combine the images
|
|
00:48:22:08
|
from the Times with the kind
of commentaries from today.
|
|
00:48:29:06
|
So this is what half of us are much
more than just producing films.
|
|
00:48:34:13
|
So also producing
documentaries about films.
|
|
00:48:37:18
|
And when we have
|
|
00:48:41:02
|
a certain director that documentaries
either quiet if it does exist or foreign
|
|
00:48:47:10
|
born or produced in terms of programming,
we also have some
|
|
00:48:53:15
|
great it's
|
|
00:48:55:15
|
it's what's called the art
of film festival going on.
|
|
00:48:59:14
|
So or a period of two weeks we are showing
only films which were co-produced by.
|
|
00:49:06:19
|
You for the artist.
|
|
00:49:08:06
|
So these are all TV premieres
for the first time shown on TV.
|
|
00:49:12:20
|
This will be continued and December
|
|
00:49:17:00
|
by a purely online festival.
|
|
00:49:19:22
|
So films which didn't find
the theatrical release,
|
|
00:49:24:02
|
not at all or not yet are
|
|
00:49:28:22
|
you can go like into virtual cinema
and discos all over Europe.
|
|
00:49:35:02
|
So with the subtitles in many for many
European countries and the cinema,
|
|
00:49:41:00
|
the size of the virtual cinema is
in regard to the size of the country.
|
|
00:49:46:05
|
So you can buy because you're nothing,
but you can buy the ticket.
|
|
00:49:50:10
|
And when it's sold out, it's or.
|
|
00:49:52:08
|
And when you have purchased
buying the ticket,
|
|
00:49:55:04
|
you can see whatever film it's on,
the program you can see in your country
|
|
00:50:00:20
|
in your language,
subtitled in your language.
|
|
00:50:03:11
|
So you've got countries like Germany ever,
|
|
00:50:06:14
|
because cinema in France is more than
radio has a small cinema.
|
|
00:50:11:13
|
So there are only a few people and this
is not the third year we're doing this.
|
|
00:50:17:22
|
It's technically a bit complicated.
|
|
00:50:20:17
|
It was know we were working with a
|
|
00:50:23:15
|
professional streaming platform and
cooperation and we see how that works.
|
|
00:50:28:06
|
And
|
|
00:50:29:20
|
this is the reason why we do this is
|
|
00:50:32:22
|
because we see that,
you know, normal, free TV,
|
|
00:50:38:07
|
it's not coming to an end.
|
|
00:50:39:18
|
I mean, most of the people still watch
it in front of them when you talk to TV.
|
|
00:50:44:16
|
But
|
|
00:50:46:08
|
there are other ways of distributing
your products and your films.
|
|
00:50:50:13
|
And basically, I think that many films
produce a lot of money for production all
|
|
00:50:57:01
|
over Europe, but not enough
money for distribution.
|
|
00:50:59:21
|
And and the numbers
in the beginning, I told you
|
|
00:51:04:15
|
it's an indication of how what kind
of films are being acquired by TV.
|
|
00:51:09:23
|
And it's very rare nowadays that even
|
|
00:51:12:11
|
public broadcasters acquire films
from other countries.
|
|
00:51:16:14
|
So I don't know, switch
|
|
00:51:19:19
|
when the last,
|
|
00:51:21:06
|
let's say, the film was acquired
by a public broadcaster in Spain,
|
|
00:51:27:00
|
maybe not that often that's going
|
|
00:51:28:21
|
to happen, but the same goes
for Germany on this film.
|
|
00:51:35:05
|
Reacquired was I think it was either.
|
|
00:51:40:08
|
So that's quite some time ago.
|
|
00:51:42:10
|
And of course we could produce films.
|
|
00:51:44:15
|
But in terms of acquisitions and films
which are released theatrically from other
|
|
00:51:50:12
|
European countries in your own
territory, it's really difficult.
|
|
00:51:54:14
|
And the fact I mean,
the as I mentioned earlier,
|
|
00:51:58:00
|
not just coproduced,
but we have quite a lot of movies and we
|
|
00:52:01:04
|
acquire these films and the theatrical
distributors because we know
|
|
00:52:06:02
|
for them is essential
to sell a film to TV.
|
|
00:52:09:18
|
Otherwise it's very difficult
for them to continue their work.
|
|
00:52:13:10
|
So instead of what honesty is,
we buy films at the at
|
|
00:52:18:21
|
that festival distributor
in order to help them to survive.
|
|
00:52:23:11
|
You also help in paying, for example,
for the dubbing,
|
|
00:52:29:20
|
because in eastern Germany,
people like Stuart Black,
|
|
00:52:32:11
|
even these kind of films they like
to see dubbed and it a lot of money.
|
|
00:52:36:10
|
So all these small distributors, you know,
|
|
00:52:38:14
|
they don't have enough money for
the partner and and the public.
|
|
00:52:43:07
|
So we help them pay for the dubbing
|
|
00:52:47:07
|
because we want the films really
to be seen on the big screen first.
|
|
00:52:58:04
|
In any anyway, you can see that, you know,
|
|
00:53:01:02
|
originally when I when we started
that there was not one line.
|
|
00:53:04:08
|
And so we have to go with the
times and we have to invent
|
|
00:53:09:17
|
new,
|
|
00:53:11:13
|
I don't know, models of distribution
for the films which we like,
|
|
00:53:15:11
|
which we could produce and which we
want our audience to be seen,
|
|
00:53:21:20
|
and that I don't know where we're
going to be ending all this.
|
|
00:53:26:03
|
As I said, we don't have
problems to find projects because
|
|
00:53:31:00
|
there are so many films still produced,
despite the fact that, of course,
|
|
00:53:36:12
|
Netflix and Amazon
are there on the market.
|
|
00:53:39:20
|
But they I mean, they're hardly hardly
|
|
00:53:46:00
|
could produce this kind of films.
|
|
00:53:48:02
|
We are producing also
|
|
00:53:53:07
|
the directors I've worked with over
|
|
00:53:55:06
|
the years whose films are off Netflix,
and they are not really happy about
|
|
00:54:00:02
|
that as a director, because
what happens to them?
|
|
00:54:03:09
|
I mean, we're all used to have an
extra exchange with the audience.
|
|
00:54:08:17
|
So they go and look at films
to the festivals and even
|
|
00:54:11:19
|
on the Public Relations Board and film is,
you know, released in whatever country.
|
|
00:54:16:19
|
And for them to have a
|
|
00:54:19:12
|
personal reaction from the audience,
|
|
00:54:22:11
|
a discussion,
it's essential for them to understand,
|
|
00:54:26:00
|
you know, if they make themselves
understand that the people like the films,
|
|
00:54:30:17
|
you know, and they told me, yes,
we got the money, that's great.
|
|
00:54:33:23
|
But we don't know what
happens with our films.
|
|
00:54:36:22
|
We don't have any reaction.
|
|
00:54:39:00
|
We don't know how many people, what
kind of people are watching the films.
|
|
00:54:42:04
|
We only got some money.
|
|
00:54:43:10
|
So it's very frustrating for them.
|
|
00:54:45:21
|
And there always
will be discussions nowadays between
|
|
00:54:49:19
|
the sales company and the producers
and directors, directors.
|
|
00:54:54:02
|
What's to be going out and being seen
by the people physically, somehow?
|
|
00:54:58:22
|
And the other ones just
want to make money.
|
|
00:55:02:00
|
And I understand completely
|
|
00:55:04:16
|
the director's point of view.
|
|
00:55:06:03
|
Also in our contracts,
for example, the slot
|
|
00:55:11:07
|
is excluded.
|
|
00:55:12:23
|
So all the films we are producing
|
|
00:55:16:22
|
can't be shown on the platforms
before we yes, we have broadcast.
|
|
00:55:22:04
|
And that means two years after
the theatrical release and after we
|
|
00:55:27:00
|
broadcast it once, it then goes
to that from its plan for us.
|
|
00:55:31:02
|
But like this, we also
|
|
00:55:34:08
|
enable, you know,
the space for the director to meet his
|
|
00:55:37:20
|
audience because our TV
doesn't meet the audience neither.
|
|
00:55:40:00
|
And and we respect that wish
|
|
00:55:43:09
|
for the directors, you know,
to have an exchange with people.
|
|
00:55:50:07
|
Now you are there. I have been already one hour.
|
|
00:55:54:23
|
So, are there any questions?
|
|
00:55:58:23
|
Or add something, I don't know.
|
|
00:56:01:08
|
So I'm here, it doesn't mean
that you have to finish.
|
|
00:56:04:00
|
You mean maybe you won't.
|
|
00:56:05:18
|
But I know we open the mic for our audience.
|
|
00:56:13:15
|
If may be they are still sleeping.
Oh! Thank you, everyone is sleeping.
|
|
00:56:21:20
|
It has not been provoked by you, don't worry
|
|
00:56:23:18
|
And maybe I start with a question and I
|
|
00:56:25:16
|
By the end of your discourse
you touched one of the hot topics.
|
|
00:56:32:07
|
You say that there is
money for production
|
|
00:56:35:05
|
but not that much for distribution.
|
|
00:56:38:08
|
And...
|
|
00:56:40:15
|
do you think that that situation is
going to change in sometime soon?
|
|
00:56:47:11
|
SoonI don't know, but it has to change
because what you do with all the films
|
|
00:56:52:07
|
which are produced?
|
|
00:57:02:15
|
And there will be a moment with fundraisers,
|
|
00:57:06:08
|
private or public,
|
|
00:57:08:05
|
and ask you: what happens to our money?
|
|
00:57:11:10
|
where are the films to be seen?
|
|
00:57:15:16
|
Can we expect to have
something back from our money?
|
|
00:57:17:21
|
and... which is usually not the case...
|
|
00:57:20:05
|
So, and I know that there are discussions
and there was in Brussels, I think,
|
|
00:57:24:07
|
or somewhere and starting discussing how
how to improve distribution.
|
|
00:57:31:21
|
But
as far as I'm not a specialist in this,
|
|
00:57:35:06
|
but I think that's the crucial thing
for the survival of this kind of
|
|
00:57:41:03
|
director's driven cinema,
which we are working in.
|
|
00:57:44:21
|
And maybe you also would
like these kind of films.
|
|
00:57:48:03
|
It's either the budget films which are
commercial thus they make the money or
|
|
00:57:53:12
|
in the near future on a very low,
low budget, which doesn't cost money.
|
|
00:57:57:15
|
And so every every euro you make
is already a plus in the movie.
|
|
00:58:02:15
|
The difference between, I don't know,
|
|
00:58:05:00
|
two and a half million euros, for example,
the kind of middle range that you think
|
|
00:58:13:13
|
that there are many
|
|
00:58:17:10
|
of these films for that reason will be
difficult and it will be difficult to.
|
|
00:58:22:03
|
In the future,
|
|
00:58:24:00
|
in the moment, not to get financed,
but frankly, I do not recall
|
|
00:58:29:23
|
to arrive to an audience,
you want to give the extreme there or
|
|
00:58:33:06
|
there and and as far as you can see it,
and there's not going to redistribute you.
|
|
00:58:39:11
|
So as in the rest of the society,
things with Suffering's million plus.
|
|
00:58:49:00
|
Maybe
|
|
00:58:50:08
|
I wouldn't have anything better than.
|
|
00:59:22:14
|
And I was wondering if you
I am director of the Craft Film Festival,
|
|
00:59:27:18
|
which from my previous films,
which is really a reason to move through
|
|
00:59:34:02
|
the transition right now.
|
|
00:59:36:00
|
And I was wondering if you're going
|
|
00:59:39:00
|
to kind of film
|
|
00:59:42:18
|
that they are
|
|
00:59:45:20
|
going on.
|
|
00:59:47:09
|
I did you did he get
|
|
00:59:51:00
|
what kind of films micro about micro
budget films, micro budget films?
|
|
00:59:57:17
|
Actually, we don't buy films
according to the budget.
|
|
01:00:03:06
|
We don't care
|
|
01:00:06:02
|
about the budget.
|
|
01:00:07:02
|
It's just, you know,
we buy the films are very good.
|
|
01:00:10:11
|
Yeah, it was done with a lot
of money or little money.
|
|
01:00:13:20
|
And we don't care.
And we have
|
|
01:00:17:19
|
to stop this because we have a range
of international film, Khurram.
|
|
01:00:22:03
|
So, you know, you can send the films
|
|
01:00:26:17
|
to us
|
|
01:00:28:20
|
and give them one call you.
|
|
01:00:31:08
|
My department was already working on short
films, for example, and we do like films.
|
|
01:00:36:09
|
I think if you talk about I don't
know if your feature length.
|
|
01:00:40:03
|
Feature length.
OK, thank you.
|
|
01:00:51:17
|
Right,
|
|
01:00:52:22
|
when he said that they were happy this
thing is 100 percent of the building has
|
|
01:00:58:02
|
to be shot in Germany or France,
but maybe I misunderstood.
|
|
01:01:02:04
|
So not that was I think it was
about the regional funding.
|
|
01:01:08:15
|
So co-production with Germany
|
|
01:01:11:16
|
when when they got the money
from whatever regional fund,
|
|
01:01:16:05
|
let's say they got
|
|
01:01:18:05
|
100000 euros from the fund, then you have
to spend 150000 euros in the region,
|
|
01:01:25:05
|
not the film them just
|
|
01:01:27:17
|
linked to the budget,
|
|
01:01:29:15
|
which comes from other money,
which comes from the
|
|
01:01:32:19
|
people's.
|
|
01:01:36:17
|
I
|
|
01:01:38:00
|
do not
|
|
01:01:39:15
|
know
|
|
01:01:43:13
|
how many first time directors of films did
you produce in the past 20 years? I mean,
|
|
01:01:52:09
|
what's the access of first time
directors to do?
|
|
01:01:56:00
|
I think,
|
|
01:01:58:08
|
as I mentioned, we have
sort of two budgets.
|
|
01:02:01:15
|
One is exclusively for beginners
|
|
01:02:04:02
|
and then it's beginners,
meaning up to the third film,
|
|
01:02:08:18
|
but usually starting with the
first or then the next two.
|
|
01:02:11:13
|
Maybe if they're not shooting,
|
|
01:02:14:01
|
then we talk about budget, if they're
extending the show to the limit.
|
|
01:02:17:17
|
So if the first film is done for one
|
|
01:02:20:03
|
million and the second for 10 million,
we don't even get from that budget.
|
|
01:02:25:00
|
So it's like every year it's six films.
|
|
01:02:32:05
|
International
|
|
01:02:34:17
|
future German sexto.
|
|
01:02:38:22
|
OK,
|
|
01:02:40:13
|
I was wondering,
which is the procedure for a rough cut?
|
|
01:02:45:09
|
I mean, you talking about the producing,
what you do about the way regional farmers
|
|
01:02:51:14
|
involved, but about Africa,
if a producer from Spain asked me in this
|
|
01:02:57:11
|
case, sent you or show you a rough cut,
what is next steps?
|
|
01:03:04:19
|
And if and that is only my of is not
|
|
01:03:08:17
|
afraid to say, do not
know the results of things in this case.
|
|
01:03:13:00
|
There is a French coproducer in.
|
|
01:03:16:16
|
Yeah, maybe.
|
|
01:03:17:22
|
But the thing is, like after false
Suderman, it's called the production.
|
|
01:03:22:22
|
They don't do it like this.
|
|
01:03:24:11
|
They don't watch your rough cut
of a film which are not involved in.
|
|
01:03:27:22
|
So what do we do when we see a rough cut
and we like the film, we buy the film,
|
|
01:03:33:19
|
we invest in the film.
|
|
01:03:36:01
|
So usually the are sent to us
from producers.
|
|
01:03:40:15
|
Of course, the original producer doesn't
|
|
01:03:43:07
|
have to be a co-production
for us at the moment
|
|
01:03:47:12
|
when we like the rough cut
|
|
01:03:49:18
|
and we have to submit it, of course,
to get green lighted by the whole board.
|
|
01:03:55:15
|
But if that is the case, we make
the contract direct with your original
|
|
01:04:02:06
|
with the main producer.
|
|
01:04:03:15
|
In that case, you as the Spanish producer.
|
|
01:04:06:03
|
And because at that moment of the rough
cut, we know that, you know,
|
|
01:04:10:08
|
you need some money to for the final
finalization, for the post-production.
|
|
01:04:15:04
|
And we pay we pay in these
kind of cases like,
|
|
01:04:19:19
|
I don't know, eighty thousand euros
|
|
01:04:22:16
|
for one to two runs
in France and Germany, TV,
|
|
01:04:28:22
|
cinema, everything is free, of course.
|
|
01:04:31:09
|
And for a period of one maximum two years
|
|
01:04:38:15
|
plus online, like seven days cager.
|
|
01:04:43:09
|
And then we have, I mean,
our logo on the in the credits, whatever.
|
|
01:04:52:01
|
Over a billion dollars.
|
|
01:05:12:04
|
Pepino, thank you for Anastacia,
speaking about your experience
|
|
01:05:18:13
|
in terms of documentary, what
kind of topics are you looking for?
|
|
01:05:25:01
|
Last most.
|
|
01:05:29:14
|
As you can see on the website before,
there are a lot of formatted documentaries
|
|
01:05:34:15
|
format, it means like, you know,
between 26 and 52 minutes
|
|
01:05:39:23
|
wildlife historical subjects
are social subjects, cultural subjects.
|
|
01:05:47:03
|
You know, like the one
|
|
01:05:48:12
|
where I went to do a documentary about
possibilities, like a cultural duck.
|
|
01:05:53:23
|
I guess you were talking about
a feature length documentary.
|
|
01:05:56:22
|
You want to know about that?
|
|
01:06:00:04
|
Featuring documentaries.
|
|
01:06:03:11
|
Unfortunately, I've decided some years ago
|
|
01:06:07:16
|
to escape that slot that we had
for feature length documentaries.
|
|
01:06:13:00
|
I never understood why.
|
|
01:06:15:08
|
And I mean,
|
|
01:06:18:00
|
one of the reasons might have been
|
|
01:06:20:13
|
that the ratings were not that good
because it was basically because weekly,
|
|
01:06:27:03
|
as far as I remember,
weekly and basically creative
|
|
01:06:30:05
|
documentaries and with the change of the
directors of programs would come and go.
|
|
01:06:35:11
|
And since when I started it, for example,
|
|
01:06:38:13
|
after I did the programming together
with the director of programming
|
|
01:06:42:10
|
for my films myself,
you know, nowadays in every TV
|
|
01:06:46:23
|
you have a bureaucracy,
you have people planning the programming,
|
|
01:06:51:00
|
and that's that's the death
of creating a creative TV.
|
|
01:06:54:23
|
And it's really a problem for tell,
to my point of view.
|
|
01:06:58:17
|
So one result of that structure becoming
a more bureaucratic people planning,
|
|
01:07:05:00
|
thinking that might interest an audience
there and there and more of that.
|
|
01:07:09:15
|
And that led to the fact that they just
|
|
01:07:13:08
|
can't cut down this slot
for the creative documentary
|
|
01:07:18:07
|
feature length documentaries,
which is really bad, really bad,
|
|
01:07:22:17
|
because it was a unique
point for art at the time.
|
|
01:07:26:04
|
Now he comes a little bit back.
|
|
01:07:28:13
|
So on that have we are
involved a year in about five
|
|
01:07:34:02
|
feature length documentary.
|
|
01:07:36:12
|
They don't have a lot,
|
|
01:07:39:01
|
but he's wanted it's not when they
mentioned the word creative documentary.
|
|
01:07:44:06
|
The people are getting crazy.
|
|
01:07:46:06
|
You know, they don't want to get to that.
|
|
01:07:48:03
|
They want to have hot dogs,
whatever that means.
|
|
01:07:51:15
|
Very spectacular.
One spot
|
|
01:07:55:23
|
on the same time.
|
|
01:07:57:00
|
I had breakfast with my colleague
from Romania this morning.
|
|
01:08:00:12
|
I remember that.
I wanted to
|
|
01:08:03:12
|
I wanted to produce
or come on board of lower costs, you know,
|
|
01:08:08:20
|
for a new film
about WikiLeaks and Julian Assange.
|
|
01:08:14:19
|
When I saw.
|
|
01:08:17:04
|
A rough cut of that said,
well, we have to do it,
|
|
01:08:20:18
|
so I would like to come on board of that,
|
|
01:08:23:00
|
and it was turned down
by the director of our team because.
|
|
01:08:26:21
|
Oh, it's because it's a personal
friend of the director won an Oscar.
|
|
01:08:33:12
|
But anyway, so they turned it down
|
|
01:08:37:05
|
because it's nothing new.
|
|
01:08:38:20
|
And no, I think, my God, what did they
see or what what they didn't see.
|
|
01:08:43:16
|
So I can't tell you.
|
|
01:08:45:16
|
I mean, what's always working because we
have on Tuesdays,
|
|
01:08:49:00
|
we have a slot from prime time
for social or political or environmental
|
|
01:08:57:22
|
subjects so they can find
documentaries, let's say, about
|
|
01:09:03:00
|
sugar and what sugar does
to the human body.
|
|
01:09:07:20
|
You can find to find a documentary about
|
|
01:09:10:16
|
Monsanto before Bayer Bought it.
|
|
01:09:12:15
|
and what does to the human body.
|
|
01:09:15:07
|
Yes.
And the brain.
|
|
01:09:18:00
|
And about aluminium
and the effect it has on the environment
|
|
01:09:23:14
|
and on people, you know,
all these deodorants.
|
|
01:09:26:00
|
I didn't know that before.
|
|
01:09:28:00
|
So this kind of social,political
and environmental documentaries
|
|
01:09:33:19
|
for future films other
than that, I mean, we acquired the last
|
|
01:09:42:04
|
Michael Moore, “Where to Invade Next?",
|
|
01:09:45:20
|
which was broadcasted just last week.
For a special programming, we do sometimes
|
|
01:09:52:19
|
... if you have a subject,
|
|
01:09:54:10
|
we look for programs which fit do that week
either acquire movies or documentaries.
|
|
01:10:02:19
|
That depends on the subject.
|
|
01:10:05:10
|
But that's basically that. So, other
documentaries I'm still working on.
|
|
01:10:10:13
|
I wanted to buy a documentary
about which was in Cannes last year,
|
|
01:10:18:15
|
about an Afghanistan
|
|
01:10:24:16
|
Actor, director, producer, superstar
|
|
01:10:29:14
|
who shoots Michael budget films,
by the way, with the iPhone or whatever,
|
|
01:10:34:06
|
and he's friends with the Taliban
as well as with whatever.
|
|
01:10:39:23
|
And he's a very popular cause,
nothing but a very amusing film.
|
|
01:10:45:01
|
And I got only and it
went well in cinemas.
|
|
01:10:48:12
|
You know, it's released and it's rare
|
|
01:10:50:13
|
for a documentary in France
and Germany and in other countries.
|
|
01:10:54:20
|
And I still didn't didn't get a positive
answer from ARTE if they want the film.
|
|
01:11:01:20
|
So hard times for this kind of ambitious
documentaries on ARTE, unfortunately.
|
|
01:11:08:00
|
- Thank you.
|
|
01:11:08:18
|
Tenim temps per una última pregunta.
(We have some time left for a last question).
|
|
01:11:14:20
|
Si n'hi ha.
|
|
01:11:16:12
|
Sí? AquÍ?
|
|
01:11:21:03
|
Just a quick question, just to know
if you buy movies that are finished.
|
|
01:11:30:00
|
Documentaries of one hour,
for example, like Pasolini,
|
|
01:11:31:13
|
but from other countries and
completely finished.
|
|
01:11:42:13
|
Documentaries, yes if there is...
if you have a context.
|
|
01:11:50:17
|
I mean also that changed on ARTE
and I'm concerned because I'm there since
|
|
01:11:54:19
|
the beginning: the idea for documentaries,
all kind of documentaries, was to say...
|
|
01:12:00:02
|
... that we want documentaries,
let's say about a country or something
|
|
01:12:03:18
|
about a country made by a film director,
from that country,
|
|
01:12:06:05
|
by a film director from that country,
not by a French or German filmmaker going
|
|
01:12:11:03
|
to that country and making
a documentary about that.
|
|
01:12:13:14
|
We wanted to have the insight and
the mentality of the filmmaker dealing
|
|
01:12:20:11
|
with such subject. But not anymore.
That is gone in ARTE, basically.
|
|
01:12:24:05
|
Unfortunately.
|
|
01:12:26:08
|
So... but yes, we do buy if
there is a context,
|
|
01:12:30:06
|
we would buy documentaries
|
|
01:12:33:18
|
from other countries which finished one.
And the other question...
|
|
01:12:37:20
|
for the TV dramas, GTF TV, ARTE not.
|
|
01:12:44:23
|
Because we could produce them,
We could produce a TV drama if
|
|
01:12:51:19
|
basically GTF , inherently
the public broadcasting system
|
|
01:12:55:11
|
in Germany are really strong
in producing single TV dramas.
|
|
01:13:00:03
|
So we produce... GTF producers per
year, I don't know, 40 to 50 TV dramas,
|
|
01:13:06:04
|
primetime TV drama at least,
and some of them with ARTE.
|
|
01:13:10:13
|
So we don't invest in foreign
TV dramas. ARTE France,
|
|
01:13:15:22
|
because they don't produce TV dramas
ARTE France it's not a station like GTF,
|
|
01:13:20:11
|
they only do the programs for ARTE,
but not for whatever, France Télévision.
|
|
01:13:28:10
|
So they might buy one.
|
|
01:13:31:19
|
Usually it's English language
or British people dramas that they buy.
|
|
01:13:44:11
|
Paco: Estàs content amb la resposta?
Sí, sí, sí, sí. Thank you very much.
|
|
01:13:49:20
|
Even if it was not that optimistic
|
|
01:13:54:19
|
and
|
|
01:13:57:04
|
so,
|
|
01:13:58:02
|
- Vielen Dank
- De nada.
|
|
01:14:01:16
|
Podeu aplaudir.
-Aplause-
|
