EPC PRESENTATION
LICENCES FOR EUROPE
Brussels, April 17th 2013
EPC Presentation
• EPC is the only organization that brings together European
producers as individuals
• EPC’s aim is to build a strong European industry by strengthening
European collaboration and representing the true interest of the
European producers
• EPC also chairs the EPAA, the European Producers Association
Alliance, an organization that gathers national producers
associations from Europe
• With these two networks, EPC represents the vast majority of
production in Europe
A few films produced by our
members
What are the differences
between a film and a product ?
• Each film is a prototype
• Each film gathers artistic input driven by a creative team, which make it an
artistic work, an expression of a culture
• Each film is designed for a specific audience (the widest possible). THAT
DOES NOT signify that it is a product.
• The way of distribution is therefore different: tailor-made for prototype films
• Also, a film is not content that should be contained! Don’t mix the content of
our films and our films themselves
Some clarification about the
Producers’ Position
• Producers are in favor of selling their films!!
• Producers are happy when they get money back to reimburse the
investors who have invested in the film
• Producers are happy to share with the other rights holders the
money earned by pan-European distribution of films !
• BUT producers are unhappy if the pan-European distribution will
damage the value chain, and, instead of creating value, will
destroy it
HOW A FILM IS PRODUCED
• Through our producers’ investments
• Through market money, given by distributors, sales
agents, TV stations, through MG or presales based on
exclusivity
This money will be threatened by any regulation that does not
respect our value chain
• Through State funded money, reimbursable or not.
These funds are threatened by the change that has been
proposed in the Cinema Communication
• Through private investment, which will fill the gap in
the financing of film
This money is threatened by the crisis
HOW THE VALUE CHAIN IS
ORGANIZED
WHAT IS THE CHAIN OF TITLES
Creative Team
Authors, Directors, DP, Musicians…
Producer
returns the
revenues to
the rights
holders he
contracted
with
Producer
certifies
that the
film can
be sold
by
gathering
all the
rights
Producer
DISTIBUTOR
THEATERS
TV
VIDEO/VOD
WHAT DO WE DO TO IMPROVE
CROSS BORDER ACCESS TO OUR
WORKS (WHICH ARE NOT CONTENT)
1. COPRODUCING MORE AND MORE
Coproducing films with other European
countries means involving these countries in
both production and distribution!
It helps our films cross the borders
(encouraged also by the MEDIA PROGRAMME
and EURIMAGES SUPPORT)
2. TO SECURE THE INVESTMENTS
- A film is a FRAGILE piece of work
- A film is generally designed to be rooted in a national culture
and to catch an international audience
- It has to be released in the national territory that is has
originated from to validate the audience it catches and the
way it is perceived
- A national release gives to the film :
- revenues that are a first payback on the investments
- a spectrum of the audience
- a way to organize a wider release
3. WORK WIDELY WITH GATE OPENERS
• Sales Agents are gate openers
• They can define strategy for films:
– a festival strategy for art house films
– a key territories’ strategy for mid commercial films
(one territory after another)
– few territories at the same time for highly
branded films, such as James Bond films
4. SELLING FILMS IN COUNTRIES
UNSOLD BY SALES AGENTS?
• For recent films, if primary rights are not
damaged YES
• For less recent film (« heritage ») if the right
situation allows it YES
• If the money that can be made by the film is
more than the costs YES
• If the release of the film is accompanied by a
specific promotion campaign YES
WHAT ARE THE MAIN OBSTACLES
WE ARE FACING
1. The language
• Language is, simultaneously, an advantage and
an obstacle.
• Using our own language is important as we
are producing films (neither Product nor
Content) rooted in our culture
• But in order to widen the audiences, films
must be “transformed” by using subtitles or
dubbing.
2. Finding the Audience
• The film sector is a SUPPLY DRIVEN ECONOMY as
opposed to a DEMAND one. Films are produced and
they are offered to the public. Producers are not driven
by the Demand. Producers do not perform any
marketing BEFORE producing a film, to verify the needs
of the spectator and how to answer them
• THE AUDIENCE MUST BE CREATED
• It’s a PEOPLE BUSINESS, creating tailor made desire for
every film
3. Differences of the market
• The apprehension of the market is important
to build the audience. And European countries
present different markets:
– SIZE of markets are different
– Markets have cultural differences
– The share of the market left for other films than
US:
European Audiovisual Observatory - 2010
European Audiovisual Observatory - 2010
WHAT SOLUTIONS COULD
IMPROVE THE SITUATION
From the technical side
Solutions are there. Films are available, with two
main problems:
- the exclusivity has been eliminated
- different sizes of films are fighting on the same level (big and
low budget, US and European films).
From the Legal Side
We need the EU to help us to PROTECT our Works,
our Cultural Diversity and to recognize that films are
neither a product nor a content to be contained.
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