Profile
DAY 2
Asian-European Coproduction: Navigating the Path Ahead How does the European film industry view contemporary Asian filmmakers and producers? European film professionals are often surprised by the ability to produce quality films in a very cost efficient manner. There is also an emerging generation of Asian creative producers with the talent, ambition and good understanding of market and co-production mechanisms. Ties That Bind, a producers’ programme, aims to accompany and develop this emerging group. Through it, Asian and European producers can exchange experiences about their co-production projects and best practices. It creates a community of professionals who develop a common vision of the role of a producer and a better understanding of each other to better work together and nurture each other’s cinema. What are the biggest obstacles that European content producers face in coming into Asia? Euro-Asian co-productions are not as developed as Euro-Latino co-productions for example. I think both sides tend to fear cultural gaps, despite a reciprocal cultural interest. Financing is also different. Europe mainly relies on subsidies and the market while Asia relies on private investment, sponsors and product placements. In your opinion, what would the ideal co-production structure be for an Asian-European project? The ideal structure will come from a subject mixing naturally Asian and European cultural elements. This way, artistic, technical and financial elements from both sides will be combined to tap on the market potential on both sides. Asia and Europe shares some commonalities in history and in their culture. So scriptwriters, directors or creative producers can certainly find a good subject. What are the opportunities that the European film producer has to look out for in Asia, especially in Southeast Asia? Original film projects from established or emerging talent and the opportunity to contribute diversity to independent cinema or to take part in the creation of a cinematic vision of places we rarely see in world cinema. The TTB and SAFF catalogues holds projects from emerging places like Myanmar, Laos and up to Bhutan on top of those from bigger countries like Malaysia, Philippines, Indonesia and Vietnam. On financing, Asia is a region with many private investors and funds that have interests in international projects with market or festival potential.
How do you see creative producer associations like EAVE and SAAVA coming together to help build creative and financial bridges in Europe and Asia? Asian and European cinemas have so much to bring to each other and Ties That Bind offers that bridge. With more than 1,000 European producers in its network, EAVE has found a perfect partner in South-East Asia with SAAVA, one of the rare pan Asian organizations, to support and sustain each other’s industries for the good wealth of independent cinema. Beyond co-producing with each other and developing the film market, we can help to develop more incentives for independent cinema, to the advantage of every filmmaker in both regions.
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