STEPIN2019:
WhatAreWeAfraidOf?
OnThursdayAugust8th,aninternationalgroupof40+prominentexecutiveschosenamongvariousprofiles for their experience in different branches of the film industry, assembled for the LocarnoFestival’seventheditionofStepIntoshareideasandstrategiesconcerningthemostpressingissuestheyarefacing.Theeventtookplacefrom11.30AMto6PMandwasdividedin3parts.Thefollowingisareportofwhat’sbeendiscussed.
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INTRODUCTORYSPEECHInabookcalled“FILMISH”byEdwardRoss,asmartessayoncinemaillustratedlikeagraphicnovel,theauthor saysatonepoint: “This is theultimatecontradictionof cinema. It'samediumBORNoftechnology,AFRAIDoftechnologyandevolvingtowardsthefutureBECAUSEOFtechnology.”Ifindthiscontradictionextremelyfascinatingandtimely.Ourindustryistornbetweenvisionariesandcatastrophists:peoplewhoareexcitedandpeoplewhoareterrifiedbywhatthefuturehasinstoreforus.Andthisiswhyforthe2019editionofStepInwechosethetitle:“WhatAreWeAfraidOf?”.Becausetodaywewanttoaddresssomeofthemain“fears”hauntingourindustry.Perhaps thebiggestone iswhether independentcinemawill continue tobe relevant in the future,bothasanartformandasentertainment.Toanswerthisconcern,weputtogetheragreatline-upoffilmprofessionals,startingfromthethreeremarkablekeynotespeakersofthisopeningsession.Thefirstguesthasbeenapreeminentforceinthefilmindustryforover20years,bringingtothebigscreenfilmslikeLAVIEENROSE,PAN’SLABYRINTH,MONSTER,THEPASSIONOFTHECHRIST,MYBIGFAT GREEK WEDDING, Y TU MAMÁ TAMBIÉN, BRIGHT STAR, MANCHÉSTER BY THE SEA, THEHANDMAIDEN,THESALESMANandCOLDWAR.BOBBERNEYrantheatricaldistributionatcompaniessuch asNEWMARKET, PICTUREHOUSE, APPARITION and FILMDISTRICT, and,most recently, hewasHeadofMarketing&DistributionatAMAZONSTUDIOS.Inshort,Bobistheperfectnametohelpusassesshowplatformshavechangedthetheatricallandscape,bothinproductionanddistribution.Going inalphabeticalorder,oursecondguest isRITADAGHER, founderofSENORITAFILMS.Knownforherboldchoicesandgreattaste,andrespectedforheruncompromisingindependentvision,Ritahas worked with directors such as KEVIN MACDONALD, BARBET SCHROEDER, JAMES MARSH andMICHAEL MOORE. Rita can bring us the point of view of independent producers, in a period ofmassivechangesforfilmsundereveryaspect:format,financingandexploitation.OurthirdkeynotespeakerisMARENOLSON,AgentintheMEDIAFINANCEDEPARTMENTatCAA,oneof the leadingentertainmentand sportsagencies in theworld. She recentlyworkedon films like I,TONYAandVOXLUX,andspecializesinpackaging,financing,andsales.I’mparticularlygladthatshe’sherewithustodaybecauseIreallywantedtoopenStepIntoacategorythatisabsolutelyessentialinour industry: thetalentagencies. Theyaretheultimategatekeepers,andassuchtheyareatoncefearedandrevered,butthere’snodoubtthattheyrepresentthebestopportunitytogetafilmmade.Withthehelpofourthreeguests,we’lltrytodebunksomeofthecommonmisconceptionsaboutourindustry,and-whoknows-perhapswe’lldiscoverthatthefutureisbrighterthanitseems.IwishyouallawonderfulStepIn!
MarcelloPaolilloStepInProjectManager
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PARTI-OPENINGKEYNOTEOpentoallPress,ProfessionalandIndustryaccredited
ModeratedbyVarietycorrespondentNickVivarelli,duringtheopeningkeynotethreeremarkablefilmexecutivesofferedtheirpointofviewonthestateoftheindustry.
Asstreaminggiantscontinuetoupendtheglobalfilmbusinessscenarioit’sgettingtougherforindiecinema to survive, both as an art form and as entertainment. But smart new strategies are beingdevisedtomountproductionsthatstaytruetotheindieethos,andthethrilloftheatricalisn’tgoneyet.
In broad terms those were the main takeaways from the Locarno fest's unique StepIn think tankwheretheoverall themewas"WhatAreWeAfraidOf?"and40-plusmostlyEuropean indieplayersconvened to share experiences and exchange thoughts for practical solutions to navigate theonslaughtofstreamingplatformsandthedigitaleraatlarge.
“Agility”emergedasthekeywordduringtheopeningsessionwhenFrenchproducerRitaDagher,oneof the three keynote speakers, recounted how she packaged Jean-Stephane Sauvaire-directed "APrayer Before Dawn," which she described as a mix of: "French director, English material, andAmericanmoney,"packagedbyCAAthankstoJamesShamus.
Anoveltythisyearwastheattentiondedicatedtotheroletalentagenciescanplay,particularlytheU.S.onesatthemoment,inbringingmoreoffbeatprojects,albeitoneswithcommercialprospects,tothescreen.Especiallythebigscreen.
CAAagentMarenOlson, also a keynote speaker, said she is increasingly looking at projectswith aEuropeancomponentduetotheresultingbuilt-insoftmoneythatcanbecombinedwithU.S.equity.
"What we are trying to do is create relationships globally that can add to more agility for thefilmmakingcommunity,"shesaid.Thiscanhelpkeepa"creativesystemafloatwhereeachindividualfilmmakerandfilmmakingteamcantellthestorytheywanttotell,withresourcestogetitmadeandplacesforittobeexhibited,"Olsonnoted.
On the crucial subjectof exhibition,AmazonStudios' formerheadofdistributionBobBerney,whowasthethirdkeynote,pointedoutthatwhereas justtwoyearsagomoviedealshada"verystrongtheatrical commitment,whenyou’reeitherbuying rightsor investing," this is "turning intoamuchmoregrey,open-endedareanow."
Butthemarketisstillinfluxandindiescantrytousetalentleveragetoshapeit.Olsonrevealedthatshe'shadinstanceswheredirectorshavesaidthattheatrical isanimportantenoughpointforthemthattheywilltakelessmoneytogotheatrical."AndsoNetflixhashadtoreacttothat,"shenoted."Itgoesbacktothepowerofthecreatorsandthepowerofthecreatives,"shesaid.
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KeynoteSpeakers:
BOBBERNEYMarketingandDistributionExecutive
BobBerney has been a preeminent force in the filmworld formore than twodecades, bringing amultitudeofsmart,challengingandentertainingfilmstothescreen.Mostrecently,BerneywasHeadofMarketing&DistributionatAmazonStudios(2015-19)whereheoversaw the theatrical distribution and awards marketing campaigns for a vast array of criticallyacclaimed and filmmaker driven titles, ranging from documentaries (GLEASON, CITY OF GHOSTS),foreignlanguagefilms(THEHANDMAIDEN,THESALESMAN,COLDWAR)andboxofficesuccessessuchasLOVE&FRIENDSHIP,MANCHESTERBYTHESEAandTHEBIGSICK.PriortojoiningAmazonStudios,hefoundedandoperatedsomeofthemostsuccessfulindependentfilm distribution companies of the last 15 years: FilmDistrict, (INSIDIOUS, SOUL SURFER, DRIVE);Apparition(BRIGHTSTAR,THEYOUNGVICTORIA);Picturehouse(LAVIEENROSE,PAN’SLABYRINTH,APRAIRIEHOMECOMPANION,METALLICATHRUTHENEVER);NewmarketFilms(THEPASSIONOFTHECHRIST, MONSTER, WHALE RIDER) and IFC Films (MY BIG FAT GREEK WEDDING , Y TU MAMÁTAMBIÉN).
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RITADAGHERSENORITAFILMS|CEO&Producer
Rita Dagher is the founder of Senorita Films, and producer of feature films, TV series anddocumentaries.Thecompany’sgoal is tostrikean internationalchord through innovationandboldchoices,atonceengagingwithcontemporaryglobalissuesandpreservinganindependentvision.Films Rita produced include: “A Prayer BeforeDawn” by Jean-Stephane Sauvaire (Official selectionCannes 2017), “Soy Nero” by Rafi Pitts (Berlinale 2016), “My Enemy’s Enemy” directed by OscarwinnerKevinMacDonald;“Terror’sAdvocate”directedbyBarbetSchroeder;“Pa-ra-da”directedbyMarcoPontecorvo.Previously,shewasExecutiveProducerofChrisMorris’s“FourLions”and“ShadowDancer”directedbyOscarwinnerJamesMarsh(BestDocumentaryFeaturefor“ManonWire”-2009).ShewasalsoAssociateProducerof“Fahrenheit9/11”directedbyMichaelMoore.
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MARENOLSONCAA|AgentintheMediaFinanceDepartment
Maren Olson is an Agent in the Media Finance department at leading entertainment and sportsagency Creative Artists Agency (CAA). Olson works in the Los Angeles office and specializes inpackaging, financing, and selling films, including I, TONYA, LATE NIGHT, VOX LUX, HIGH LIFE, ATETERNITY’SGATE,DUMPLIN’,LUCE,BREAKINGNEWSINYUBACOUNTY,and355.OlsonjoinedCAAin2015fromTractionMedia,anindependentfilmproductioncompany,wheresheserved as President and oversaw the creative development, packaging, production, financing, andsalesoffilmsontheTractionMediaslate,includingSHORTTERM12,whichwonboththeGrandJuryPrize and Audience Award at SXSW, and THEWANNABE, starring Academy Award-winner PatriciaArquette.Olson graduated from University of Southern California with a degree in Film and TelevisionProduction.KeynoteModerator:NICKVIVARELLIVariety|ItalyandMiddleEastcorrespondentBorninFlorencetoanAmericanmotherandanItalianfather,NickVivarellihasspentplentyoftimein both countries. After studying comparative literature at New York University, he dabbled as aliterarytranslatorandartgalleryorganizerbeforeventuringintojournalismandfilm.Sincethen,hehasworkedforseveralmediaoutlets,includingTheAssociatedPressandNewsweek.Aregularontheinternationalfestivalcircuit,heiscurrentlyItalyandMiddleEastcorrespondentforVariety.Heisalsotheauthorof"Slalom,"aTuscany-setthrillerpublishedbyManniEditoriinItalyandco-directorofthedocumentary"LifeAsaB-Movie:PieroVivarelli."
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PARTII-ROUND-TABLESSESSIONStepInParticipantsOnly
Aftertheopeningkeynote,theparticipantsweredividedin4thematicround-tables,eachonewithamoderatorandanotetaker,todiscussspecificissuesrelatedtothemaintopicoftheevent:TABLE1:TheShapeofIndependentCinema:FacingChangesinFormatsandFinancingModerator:JeandesForêts(PetitFilm)Notetaker:JoycePierpoline(PierpolineFilms)TABLE2:TheBox-OfficePuzzle:IsTheTheatricalExperienceStrugglingorThriving?Moderator:LauraHoulgatte(InternationalUnionofCinemas)Notetaker:AllisonGardner(GlasgowFilmTheatre)TABLE 3: European Film Promotion: Strategies and Ideas on How to Promote Foreign LanguageFilmsWorldwideModerator:SusanWendt(TrustNordisk)Notetaker:MathiasNoschis(Alphapanda)TABLE4:TheRoleOfTalentAgencies:TheUltimateGatekeepersModerator:VanessaHenneman(HennemanAgency)Notetaker:DattaDave(Tulsea)
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PARTIII–WRAP-UPSESSIONOpentoallPress,ProfessionalandIndustryaccredited
During this conclusive session, moderated by Variety correspondent Nick Vivarelli, all participantsgathered together once again, as the four notetakers from the previous session presented a briefsummaryofwhat’sbeendiscussedduringtheround-tables,andofferedtheirconclusions.TABLE1:TheShapeofIndependentCinema:FacingChangesinFormatsandFinancingProducerJoycePierpoline,thenotetakerfortheTable1on“TheShapeofIndependentCinema:FacingChangesinFormatsandFinancing,”underlinedthatthediscussioncenteredaroundthetopic:Arethestreamersanimportantpartofindiefilming?Theconclusion,inshort,isthattheyareundeniablypartoftheecosystemandNetflixinparticularisdictatingnewrulesindistributionandproduction.TheincreasedproductionofbothfilmsandseriesduetothearrivalofNetflixinseveralEuropeancountrieshasraisedbudgetsingeneralandreducedavailableresourcesandtalentforfilms.Theyarealsodryingupthetalentpoolmakingitmoredifficulttofindwritersanddirectorsandalsocrewforproducersmakingindiefilmsthatarebasedonamoretraditionalfinancingmodelanddistributionmodel.Thegoalforanyproduceristoachieveabalancebetweentraditionaltheatricalorbroadcastmodelsandthestreaminggiants,sothatanindieproducercansurvivefinancially.IntheindiesphereEuroperemainsanauteur-drivenmarketwheretheatricalisveryimportanttothefilmmakers.Theystillwantthetraditionaltheatricalrelease,particularlyinFrance.InGermanydirectorsaremorewillingtogodirectlytostreaming.Butgettingtheatricaldistribution,evenalimitedone,isstillthebestwayforadirectortobecomeestablished.Andfestivalsareanessentialpartofthesystemalsobecausethatiswherethestreamersfindtalent.Akeyconsiderationisthatproducersneedtorespectthewayaudiencesarewatchingcontent.Andthebestwaytoreachthelargestinternationalaudienceisthroughstreaming.Intheatricaltheday-and-datemodelisaneffectivewaytoreachawideraudience.Inthestreamersspherethereishopethatwithmoreplayersonthehorizon,Disney,Apple,etc,morecompetitionwillbringmoreflexibilityandgivetheproducersmoreleverageinthemarketplace.
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Hopefullyitwillalsoprovidemoreaccountabilityonthepartofthestreamers.Producersneedtosurvivethroughproducingindependentcontentbothwiththetraditionalmodeloffinancingandwiththestreamers.Buttheydoneedthestreamerstosurvive.FromacreativestandpointthedownsideofthestreamersisthatbyandlargeinEuropetheytendtogoforbland,notverygoodqualitycontent.Theydon’treallyfinancedevelopment.Insteadtheyrelyonnationalfundsandsoftmoneytodevelopprojects.Whichisnotfair.NationalfundsinEuropeinparticularneedtoworktogethertorequirestreamerstoinvestapercentageoftheirrevenueintolocalproduction.TABLE2:TheBox-OfficePuzzle:IsTheTheatricalExperienceStrugglingorThriving?AlisonGardner,chiefprogrammeroftheGlasgowFilmTheatre,andco-directoroftheGlasgowFilmFestival,whowasthenotetakerofTable2,saidthatwhenitcametogettingaudiencesintomovietheaterstherewere3mainthemestotheirdiscussion:SocialMedia;Curation;andCommunity.Participantsstartedoutbynotingtheimportanceoflocalmovies,inkeepingthetheatricalexperiencebuoyant,especiallycomediesalthoughtheydon’ttravelinternationally.Otherpointsofdiscussionswhere:
- Waysofgettingpeopleofftheircouchesandintomovietheatreswerediscussed,rangingfrommultiplexesinEstoniathatareprogrammingarthousetitles,breakingdownbarriersbetweenhighbrowandmainstreamcinema,totheimportanceoffilmliteracyandworkingwithschoolstoattainthesamegoal;
- Theimportanceofexhibitorssharingintelonwhatworkswiththerestofthevaluechain;- Theimportanceofsocialmediainmarketingandalsoenhancingthecommunalmoviegoing
experience;- Theintroductionofthesubscriptionmodelappliedtoexhibitionchainsasamarketing
strategy;- Theriseofalternativecontentasawaytodrawmoreaudiencestomoviesaswell;- Thecurationofmoviesaseventreleases;- ItwasnotedthattoomanyfilmsaremadeinEurope,1746in2017.
TABLE 3: European Film Promotion: Strategies and Ideas on How to Promote Foreign LanguageFilmsWorldwideMathiasNoschis,headofBerlin-basedsocialmediaagencyforthefilmindustryAlphapanda,wasthenotetakerforTable3.
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Hepointedoutfirstandforemostthatwhenitcomestomarketingamovieofflineisdead.WithinsocialmediatoolsfordistributorsandexhibitorstoreachaudiencesTwitterisnotreallyrelevantanymore,justFBandIG.OfcoursetherearedifferentwaystobepresentonSMbutthere'soneparticularlyneeded,andit'sbrandrecognitionDistributorsandexhibitorsneedtobuildbrands,andaneffortshouldbemadetomake"EuropeanFilm"abrand.Examplesofthistypeofbranding:“20topEUfilmsinToronto,”the"TalesofEurope"initiativeintheU.S.Knowingtheaudienceiskey.Relatedtothat:theissueofdubbingvsnotdubbing.Twokeytopicsthatwerethrashedout:
1) Whosejobisittoimplementthepromotion?AreExhibitorsrealcuratorsorsupermarketsthatputstuffontheirshelves?Beingadistributorofindiemoviesisgettingharderandharder.Youneedtohit10Kadmissionsjusttorecoupyourdubbingcostsinterritories,likeItaly,wheredubbingismandatory.Theroleofsalesagentsinpromotionisevolving.Producersareconstantlycuttingthemarketingbudget.
2) Let'sgetpracticalEuropeanFilmPromotionwantstoimplementaschemeforsalesagentstododigitalassetpackages.Whatarethesolutions/suggestionsforsuchascheme?Moneyforthesalesagenttocreatesuchapackage?(For“Nymphomaniac”yes,butdoesitmakesenseforasmallerSerbianarthousedrama?)Inanidealworld,thereshouldbeamarketplaceforpromotionalassetsthatcanbelicensedtosmallerdistributors.Question:WilltheUSdistributorreallybeinterestedinapackagecreatedbyalittleEuropeansocialmediaagency?
TABLE4:TheRoleOfTalentAgencies:TheUltimateGatekeepersDattaDave,apartneratTulsea,amediaandcontentmanagementcompanythatrepresentsIndia'sleadingwriters,wasthenotetakeratTable4onTalentAgencies.Hisfirstobservationwasthattalentagentsfeellike“dooropeners”ratherthangatekeepers.Talent:firstandforemostDavenotedthattalentisthemostessentialbuildingblockandthatthereiscurrentlyanoveralltalentcrunch-nobodyisavailable.Sothereisaneedtobestrategicandadvisoryfortalentmorethaneverbefore.
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Agentsneedtofindwaystobemoreeffectiveoverallbysharinginformation.Co-representationcanleadtomoreopportunitiesfortalent.Ensuringthatagencieshaveshared/alignedincentives,andthateveryone’sonthesamepage(agentsandmanagers)isimportant.Agentsmustdowhat'sbestfortalent,evenifthatmeanssayingnoattimes.EnablingtheecosystemProducers-aretheytalentornot?Someagenciesnowarealsoreppingproducers,financiers,etc.Becauseofthevariedroleofaproducer,andthechallengeshehastoface,someagentsarehelpingthemnavigate.There’snotaonesizegitsall:talentagenciesconstantlycreatedifferentbusinessmodels,leveragingequity(sometimesinternational)andsoftmoney,toexpandthemarket.Salesagentsworkwithtalentagentsforpackagingandtalent,especiallyastheirroleevolvesmoretowardsfinancingandproducing.Closingthoughts/nextsteps.Thegeneralfeelingwasthatthe4roundtablescross-pollinated.Producers,agents,andsalesagents–foundextremelyvaluabletoshareperspectiveandideas.
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TABLE1
TheShapeofIndependentCinema:FacingChangesinFormatsandFinancing
Moderator Notetaker
JeandesForêts
PetitFilmCEO&Producer
France
JoycePierpoline
PierpolineFilmsFounder&Producer
USA/France
BobBerney
MarketingandDistributionExecutive
USA
MatthiasBürcher
FederalOfficeofCulturePICS/MinorityCo-Productions
Switzerland
RitaDagher
SenoritaFilmsCEO&Producer
France
JonasDornbach
KomplizenFilmGMBHManagingDirector&
Producer
Germany
CarloDusi
RedArrowStudiosInternational
EVPCommercialStrategy,Scripted
UK
MatthijsWouterKnol
EuropeanFilmMarketDirector
Germany
ArfiLamba
BombayBerlinCEO&Producer
India
CorinnaMarschall
MediadeskManagingDirector
Switzerland
RobertoOlla
EurimagesExecutiveDirector
France
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TABLE2
TheBox-OfficePuzzle:IsTheTheatricalExperienceStrugglingorThriving?
Moderator Notetaker
LauraHoulgatte
UNIC-InternationalUnionofCinemas
CEO
Belgium
AllisonGardner
GlasgowFilmTheaterProgrammeDirector
andFestivalCo-Director
UK
AndreaCirla
FilRougeMediaGeneralManager
Italy
GiovannaFulvi
TorontoFilmFestivalRomeFilmFestivalMacaoFilmFestival
Programmer
Canada/Italy/China
EveGabereau
ModernFilmsManagingDirector
UK
MattiaGiannone
CinéluxProgramming&Communication
Switzerland
MichaelGraf
BanksideAcquisitionsManager
UK
HermelindeGrondard
CinemaGaleriesProjectManager
Belgium
TiinaLokk
TallinBlackNightsFilmFestival
FestivalDirector
Estonia
ElisaRosi
LichtblickKinoCinemaManager
Germany
JelaSkerlak
FederalOfficeofCultureHeadofDistribution
andDiversity
Switzerland
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TABLE3
EuropeanFilmPromotionStrategiesandIdeasonHowtoPromoteForeignLanguageFilmsWorldwide
Moderator Notetaker
SusanWendt
TrustNordiskManagingDirector
Denmark
MathiasNoschis
AlphapandaFilmMarketing
Strategist
UK
SimoneBaumann
GermanFilmsManagingDirector
Germany
AndreasBühlmann
SwissFilmsConsultantFilm&FirstFeature
Switzerland
MargheritaChiti
TeodoraFilm
HeadofAcquisitions&TVSales
Italy
SusanneDavis
EuropeanFilmPromotion
FilmSalesSupport
Germany
ThaniaDimitrakopoulou
MatchFactoryHeadofSales
Germany
SonjaHeinen
EuropeanFilmPromotion
ManagingDirector
Germany
JohnNeinSundanceFilmFestivalSeniorProgrammer
USA
TomOoms
LAB111Programmer
TheNetherlands
VincentQuek
AnticipatePicturesCEO
Singapore
ThorstenRitter
BetaCinemaEVPAcquisitions,
SalesandMarketing
Germany
TitoRodríguez
ICAA-InstitutodelaCinematografiaydelasArtesAudiovisualesDeputyDirectorof
Marketing
Spain
MiroljubVučković
FilmCenterSerbiaHeadofInt'lRelations&
Promotion
Serbia
RyanWerner
CineticMediaSeniorExecutive
USA
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TABLE4
TheRoleOfTalentAgencies:TheUltimateGatekeepers
Moderator Notetaker
VanessaHenneman
HennemanAgencyCEO&TalentAgent
Netherland
DattaDave
TulseaCo-Founder&CEO
India
Carole Baraton
CharadesCo-Founder
France
DianeFerrandez
RocketScienceInternationalSales
UK
MikeGoodridge
InternationalFilmFestivalMacaoArtisticDirector
China/UK
ChristopherGranier-Deferre
PoissonRougePictures
Producer
UK
RoseKuo
FestworksPresident
USA
LauraMunsterhjelm
ActorsinScandinaviaTalentAgent
Finland
SigridNarjes
AbovetheLineTalentAgent
Germany
MarenOlson
CAAAgentintheMediaFinanceDepartment
USA
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StepInisorganizedinpartnershipwithVarietyandincollaborationwithEuropaCinemas,EuropaDistributionandEuropaInternational.
LocarnoProissupportedbytheFederalOfficeofCultureinthecontextoftheMEDIAcompensatorymeasures.
