Hunderfossen Myth Film Festival

HUNDERFOSSEN MYTH FILM FESTIVAL

idea and strategy of the fes/val as the cultural and business enterprise

by Piotr Matecki with mentoring and support by Hogne Hostmælingen, Hunderfossen Familiepark and David John Smith, Norway Communicates 9.03.2015, Brumunddal

Why film fesIval

1. There is a need of cultural events.

2. Films are most popular cultural medium.

3. Film fes/vals are popular nowadays – it is an essence of cultural experience open for mass audience.

4. Film fes/vals can be profitable business enterprises.

5. Norwegian have money and /me.

6. There is a lot of tourists in Norway, looking for aOrac/ons.

7. Film fes/val in Oppland may increase aOrac/veness of the region in Norway and abroad.

Why Hunderfossen

HUNDERFOSSEN is unique!

pictoresque

close to tradi/on

very „norwegian”

great base for such an event – accomoda/on, space, bar, restaurants

close to nature

place of rest and contempla/on

HUNDERFOSSEN is like Norway in a pill it reflects norwegian aVtude towards nature

easygoing and friendly way of living

respect for tradi/on

care for family

HUNDERFOSSEN is a perfect place for the film fesIval accomoda/on – hotel, camping, houses

family park with already exis/ng cinemas

spacious park and a lot of place to build temporary tent cinemas

great loca/on and communica/on – train sta/on, buses, parking

great atmosphere – moat, park, forest

close to Lillehammer – well known city with great base for tourists

Idea of the Hunderfossen Myth Film FesIval

My proposi/on is to set up Fes/val on one BIG IDEA.

This main idea will give context to the Fes/val and will have following role:

1. will dis/nguish HMFF from other film fes/vals and build its uniqueness

2. will be the base for marke/ng communica/on

3. will build audience’s interest

4. will help to structurise events, select invited guest par/cipants

5. will make HFF very norwegian and will give relevant input into Norway’s culture

BIG IDEA

Hunderfossen Myth Film FesIval:

Norwegian myth – universal human experience.

BIG IDEA -­‐ explanaIon

Different stories, countries, places, characters -­‐ common human experiences.

Each edi/on of the HMFF is dedicated to ONE of the myths that drives humanity and is recognized worldwide. And it is presented under the leading NORWEGIAN MYTH taken from tales and folk stories.

If films are modern mythology, then Hunderfossen Myth Film Fes/val becomes loci commune – the mee/ng place of different cultures, a place where myths meet.

Few words on myths

Myths are universal, intercultural stories told to describe and explain world.

They are present in tales, books, songs and... films.

Myths include archetypes, described in psychology as universally understood in different cultures, deeply rooted in human subconscioussness paOerns of experiencing and explaining the world.

Death, love, birth, friendship, betrayal, pain, fear, happiness – this all people experience in any culture in the world.

And these are main topics everyone of us looks for explana/on for. Either it is religion, music, work, philosopohy, hobby, addic/ons.

This is what we offer as the HMFF:

condensed film experience focused each year on ONE of the human fundamental experiences.

These are...

Love

represented by story of Freja – norwegian goddes of love, sexuality,

Evil

represented by story of Jormungand (“YOUR-­‐ mun-­‐gand;” “Great Beast”) In Norse mythology, Jormungand is one of the three children of the god Loki and the giantess Angrboda.

God

represented by story of Odin – father of all gods

Birth Â

represented by story of world crea/on from norwegian mythology – “From the south where Muspelheim is,

came lava and sparks into the great void Ginnungagap. In the middle of Ginnungagap the air from Niflheim and Muspelheim met, the fire melted the ice and it began to drip, and there grew therefrom a humanoid creature. It was a Jotun who we today call Ymir. While Ymir slept, and the sweat under his arms grew two more giants, one male and one female, and one of his legs paired with the other to create a third, a son Thrudgelmir “Strength Yeller” These were the first of the family of frost giants also called jotuns. They were breasIed by the cow giant Audhumla who, like Ymir, was created from the melKng ice in Ginnungagap.”

Childhood Â

represented by story of Charlie and his visit to the chocolate factory – author Roald Dahl, bri/sh-­‐norwegian storyteller for children

Death Â

represented by story of Lorelei, wicked marmaid, who lead people to death.

Loneliness Â

represented by a fairy tale Itled Twelve ducks

Madness Â

represented by story of a mad wife and her husband – norwegian fairy tale collected and wriOen down by Peter Christen Asbjørnsen

MaturaIon Â

represented by story of Peer Gynt

Father Â

represented by story of Fafnir, powerful dwarf, who murdered his father Hreidmar to gain the cursed golden ring of Andvari that he had obtained and became a dragon himself.

Revenge Â

represented by story of Sigmund and his sister from the Völsunga saga (roots of Beowulf character and inspira/on for Lord of the rings).

Mothership Â

represented by story of Friga – Odin’s wife, goddess of motherhood and marriage

Each year we pick up ONE of the myths and focus on it main part of the ac/vi/es in HFF.

The chosen myth/archetype is our main category which organises us:

-­‐ film selec/on

-­‐ visual communica/on

-­‐ guests invited for prelec/ons

-­‐ entourage of the Fes/val

Year by year, myth by myth, we make a tour on humanity and films which deal with these topics. This is the main, context part of the fes/val.

Apart from this we show films without restric/on on topic to not narrow the number of films screened.

HMFF uniqueness as markeIng advantage

What differs us from other film fes/vals is:

1. WE CREATE FORMULA -­‐ intenIonally organise main part of the fesIval around one main topic – unique a]tude, no highly commercial and popular world fesIval has such a basic idea.

BENEFIT: HFF will be top of mind film fesIval in short period of Ime

HMFF uniqueness as markeIng advantage

What differs us from other film fes/vals is:

2. WE CLASH FILMS -­‐ most commercial films with most ambiIous movies to raise sparkling, thrilling discussions about describing human experiences.

We clash most commercial Hollywood pop produc/ons with most sophis/cated off movies.

We do not define ourselves as commercial or high cultural sophis/cated event.

No boarders. This will be a fes/val of voyage, enterprise, seeking for new cultural experience.

Therefore we deliver unique cultural experience. HFF is the arena where cultural cliches are being discussed, compared, broken.

BENEFIT: HMFF will be unique fesIval

Business advantages for investors and Hunderfossen resort

Business advantages for Hunderfossen resort

Tickets, sponsors and patronages will make Fes/val itself a profitable enterprise.

Business advantages for Hunderfossen resort

There will be more guests in the hotel, houses and camping.

Business advantages for Hunderfossen resort

Bars and restaurants will generate more incomes.

Business advantages

Addi/onal souvenirs, maps, gadgets, programms, film packages could be sold.

Business advantages for Hunderfossen resort

Family park will have addi/onal customers.

Target group of the FesIval

Target group -­‐ core

Psychologically: film lovers („eaters”), eager for world, looking for experiences, challenges, good aquainted with popculture, sophis/cated aVtude towards life, apprecia/ng quality

Sociologically: big ci/es, singles, couples without children, students, people of free proffessions

Age: 18 -­‐ 30

Target group – core

Geographically: Norwegian mo/va/on: Fes/val itself will be a reason to come to Hunderfossen.

European (german, swedish, polish, english, french, spanish) mo/va/on: Fes/val and Hunderfossen fame will strengthen each other as a mo/va/on to come to Norway/Hunderfossen

Frode, 21, student of technical studies from Gjovik

„Great experience – film not to be seen anywhere else, deep, experience for my imagina/on.

Hunderfossen – amazing scenography for such an event.”

Marike, 27, freshly graduated poli/cal studies student from Hamburg

„Great formula, films that moved me, charged my soul, I feel rich, I have what to think of for a next year. ”

Gunnar, 30, & Else, 24, architects from Oslo

„This fes/val was awesome – a lot of inspira/on in a great place. Unique experience and a lot of fun together – exactly what we are looking for.”

Target group -­‐ broader

Psychologically: open minded, curious of the world, interested in culture and generally looking for an entertainment of the good quality.

Socioligically: middle and big ci/es, singles, couples with children (family friendly days during the fes/val, when we take care of kids and parents may watch films) Age: 16 -­‐ 40

Target group – broader

Geographically: Norwegian mo/va/on: -­‐ fes/val will be a great pretext, target and leitmo/ve of the trip with friends/partner on the short holiday in a touristresort -­‐ parents with kids – it will be a great opportunity to take part in pop cultural event when kids are taken care of

European (german, swedish, polish, english, french, spanish, italian, czech, lithuanian, latvian, irish) mo/va/on: -­‐ tourists which want to see Norway and have a great /me in a tourist resort and will treat fes/val as another impulse to go to Norway -­‐ tourists which will come to see the fes/val and will treat Norway/ Oppland/Lillehammer touris/c offer as another impulse to visit

Uve, 34 media buyer from Bergen

„I want to feel the triple thrill: freaky cinema, fun in Haoel, joy with friends in unique place.

This will be a trip beOer than drugs.”

Knut, 30, owner of gardening company & Marie, 28, teacher of mathema/cs in local school from Dombas

„We were about to go somewhere to spend some /me together. How about 50 dates in cinema within a week? J „

Ola and Helge, Oslo, parents of Gunnar and Leif

„LiOle devils go their way, safe places, kindergardens, au pairs for kids and cinema date for us? Sounds like paradise! Family friendly days on film fes/val – great idea!”

IniIal business analysis

Prognosis, 1st year, HFF 2016 Period of HFF: 5 days Number of customers aOending HMFF 2016: 1000 Number of films screened: 20 Price of /cket: 80 Kr Average films watched by customer: 6 Income: 480 000 Kr Costs: -­‐ crew 200 000 Kr

-­‐ adver/sing 300 000 Kr -­‐ distributors’ fee X Kr -­‐ equipment rental X Kr

Profit: ...

+ profits from: Hotel, HyOas, Camping, Restaurants, Bars, Gadgets, Incomes from tenants, Sponsors

Prognosis, 2nd year, HFF 2017 Period of HFF: 5 days Number of customers aOending HMFF 2017: 2000 Number of films screened: 35 Price of /cket: 80 Kr Average films watched by customer: 8 Income: 1 280 000 Costs: -­‐ crew 400 000 Kr

-­‐ adver/sing 500 000 Kr -­‐ distributors’ fee X -­‐ equipment rental X

Profit: ...

+ profits from: Hotel, HyOas, Camping, Restaurants, Bars, Gadgets, Incomes from tenants, Sponsors

Prognosis, 3rd year, HFF 2018 Period of HFF: 7 days Number of customers aOending HFF 2018: 3 000 Number of films screened: 40 Price of /cket: 80 Kr Average films watched by customer: 8 Income: 1 920 000 Kr Costs: -­‐ crew 600 000 Kr

-­‐ adver/sing 700 000 Kr -­‐ distributors’ fee X Kr -­‐ equipment rental X Kr

Profit: ...

+ profits from: Hotel, HyOas, Camping, Restaurants, Bars, Gadgets, Incomes from tenants, Sponsors

Image advantages for Hunderfossen resort

Image advantages for Hunderfossen resort

Film fes/val will be highly pres/geous event due to its idea. It will build Hunderfossen recogni/on throughout Norway and Europe and will strengthen and influence posi/vely image of the hotel and Familiepark.

Image advantages for Hunderfossen resort Once Fes/val becomes a popular cultural event and a BRAND it can be developed into next events and cultural gatherings: shows, gallery events, cultural workshops, etc.

It may further increase Hunderfossen popularity, number of guests in the resort and be another source of business.

It will strengthen and be in line with cultural role Familiepark has already.

Structure of the HFF

Structure of the FesIval Fes/val should have its own dramaturgy and suspens moments. It should also have catchy elements based on which communica/on could be built.

Main part: -­‐ films shown within fes/val days.

-­‐ great opening screening and event.

-­‐ closing screening and event.

Also taking place: conferences, prelec/ons (on the chosen myth topic, by cultural personali/es, writers, filmmakers, etc.), fun events, workshops.

To be developed based on the final strategy solu/ons.

Crew To run Fes/val crew will be needed for following tasks: -­‐ management -­‐ marke/ng -­‐ researches -­‐ contact with press -­‐ contacts with distributors and producers -­‐ logis/cs / /ckets, routes, schedules of screening -­‐ stuff for the period of Fes/val – /ckets, guides, technical -­‐ others

Equipment and faciliIes Temporary cinemas in tents.

Screening and sound equipment.

Audience – accomodaIon, food, transportaIon Hotel, hyOes and camping are ready for the guests.

Restaurants and bars should be prepared for more clients.

System of informa/on for guests should be given in essence in one brochure.

Small fes/val busess may have a route to Oyer/Lillehammer and back.

Timings Timing of the Fes/val should be agreed basing on two presump/ons:

1. strategic plan – when most visitors can visit the Fes/val

2. life rythm of the Hunderfossen resort – when is the best /me to invite addi/onal guests, fill the gaps in accomoda/on

MarkeIng strategy and adverIsement

Dramaturgy of the FesIval

Great opening should be the moment when well known, teased worldwide film/s would be shown.

We should invite famous actors, directors, screewriters, producers for the screening event, to take part in the conference awer the screening.

Catchy points Film workshops – film produc/on, ac/ng, direc/ng (for example: task for those who are willing to par/cipate is to create a movie story connec/ng three elements: woman, man and hyOe; the idea is to co-­‐create on the workshops 3 minutes film story)

ScreenwriIng contest Could start much earlier and be adver/sied through the channels for screenwri/ng and film sympathics.

During the Fes/val we would announce the winners.

Contest for the audience Every guest of the Fes/val has a chance to win a trip to Hollywood to the shoot of a commercial movie.

Audience Award Best film selected via vo/ng among audience. As the popularity of the Fes/val will increase, the Statue (Hunderfossen Fes/val Audience Award) will become more and more valuable and will become ours brand which will make easier contacts with distributors.

To be developed 1. Visual iden/fica/on

2. Print ads concept

3. Internet viral and ambient communica/on strategy

4. Video trailer

5. PR materials

6. Content for film websites, magazines

7. Concept of the gadgets

8. Concepts of coopera/on with visual and design ar/sts

Source of films

Source of films Producers – contacts to be researched

Distributors -­‐ contacts to be researched

S.W.O.T.

Success factors of the HFF -­‐ Strengths 1. Need for such a cultural event.

2. Norwegian purchase power – second in the world.

3. Loca/on and recogni/on of the Hunderfossen brand (as Familiepark and touris/c complex).

4. Leaders of the Fes/val with experience in marke/ng, ability to create break through ideas, persistance in achieving goals and strategic vision.

Weaknesses 1. Lack of experience in such an event organisa/on of the leaders of the Fes/val.

2. Compe//on – other, already well known fes/vals which may fulfil the need for such an event.

OpportuniIes 1. Crea/ng profitable event run by rela/vely low costs.

2. Increasing recogni/on of Hunderfossen (not only Fes/val, but also Familiepark and hotel) brand in Norway and Europe.

3. Crea/ng valuable cultural event – support of na/onal and regional organisa/ons.

Threats 1. Wrong period chosen for the Fes/val may decrease number of guests.

2. Distance from aglomera/on – risk of low number of customers.

People to run the HFF

Piotr Matecki Author of an idea of the Hunderfossen Film Fes/val.

Co-­‐producer of the Fes/val who will be responsible for main idea development, marke/ng strategy, rela/onships with distributors and producers.

Piotr Matecki’s credenIals Film producer – 16 tv commercials, music videos, corporate films.

Strategy and crea/ve director of interac/ve agency Firfely.

Senior Crea/ve in adver/sing agency DDB Warsaw.

Independent businessman leading his own crea/ve bou/que Bed&Breakfast and film produc/on studio Rock&Reel Produc/on

Film FesIvals in Norway biggest events -­‐ short compe//on overview

Tromsø InternaIonal Film FesIval Biggest norwegian film fes/val (50 000 visitors in 2013) Outdoor event which takes place during the polar night since 1991 Audience consists of local inhabitants, foregn guests; cinema lovers and interna/onal movie business figures Idea of fes/vals communicated by organisators: to air movies of the best quality – when it comes to idea and ar/s/c form as well

Bergen InternaIonal Film FesIval BIFF presents annually over 150 documentary and fic/on films, and with this in extent the largest film fes/val in Norway. Biff's always a dedicated focus on documentaries, in addi/on to a wide range of feature films.

Oslo Film FesIval •

No ideology. Film from the whole world. Ticket price 100 Kr.

Oslo Filmfest Fes/val of feature films. Takes place in Oslo, beginning of March.

Tickets price: 80 Kr

Kosmorama Interna/onal film fes/val which takes place in Trondheim since 2005.

Organisators communicate their aim: to strengthen middle norwegian film industry and support innova/ons where business meets culture.

Name comes from one of the city’s first cinemas – Kosmorama Theater.

Kosmorama Fes/val lasts one week, its programm consists of 13 categories:

hOp://kosmorama.no/en/

Film fra sør – Films from the South Films from the South is a non-­‐profit organiza/on that has focused its work around films and filmmakers from Asia, Africa and La/n America.

Fes/val takes place in Oslo since 1991.

Through great movie experiences, seminars, interna/onal guests and events throughout the year, the Films from the South Founda/on is an important forum for cultural exchange.

Film fra sør – Films from the South

Each year ca. 100 films is being presented.

Feature films, documentaries.

Up to 20000 guests visits the fes/val each year.

Fes/val lasts 10 days.

"Films from the South has, since 1991, ensured the elevaKon of Norwegian interest in what goes on in film outside of Hollywood and the European film industry." Øyvind Holen, D2

hOp://www.filmfrasor.no/en/about-­‐us/

Minimalen Short Film FesIval The aim of the fes/val is to present short films from all over the world.

It takes place at the end of February/beginning of March.

It consists of 5 categories which are being shown separately on 5 following fes/val’s days: 1.

Norwegian Compe//on – 30 norwegian films 2.

Nordic Compe//on – 30 films from Denmark, Sweden, Finland and Island 3.

Interna/onal Panorama – 30 film from not-­‐nordic countries 4.

One-­‐minute-­‐film Compe//on -­‐ 40 short (one minute) norwegian films 5.

EMU: One-­‐minute-­‐film Compe//on – Young – as above but from creators between 14 and 19 years old • •

hOp://issuu.com/minimalen hOp://www.minimalen.com/sider/en.php?a=delta

Green Screen – environmental film fesIval GREEN SCREEN: Environmental Film Fes/val will take place in Oslo on 12-­‐16. April, where Bergen Interna/onal Film Fes/val with support from the Ministry presents relevant and thought-­‐ provoking documentaries on environmental issues.

In addi/on to documentaries that makes you think, many interes/ng guests appear, including the Icelandic photographer Ragnar Axelsson, who for years has documented how climate change in the Arc/c affects people in Iceland and Greenland.

Ticket price 70 Kr (50 Kr for all members of environmental organiza/ons) Fes/valpass 300 Kr (250 kr for all members of environmental organiza/ons)

Nordic Media FesIval Biggest scandinavian media conference.

Representa/ves of media from all over the world.

Debates on media trends – present and future

Takes place in Bergen in May.

hOp://www.nordiskemediedager.no/om-­‐ mediedagene/nordic-­‐media-­‐fes/val/

Best known world film fesIvals biggest events -­‐ short compe//on overview

Berlinale – InternaIonal Film FesIval in Berlin Where: Berlin, Germany When: February Main prize: Golden Bear

History: First Berlin film fes/val took place in 1951. It was opened by Alfred Hitchcock’s film Rebecca with Joan Fontaine as a main role.

Orgnisators aim communicated: FesIval is supposed to remind ’20 when Berlin was one of the most influencial cultural city in the world.

Berlinale – InternaIonal Film FesIval in Berlin Structure: Fes/val is split to few categories: -­‐ contest -­‐ panorama -­‐ kinderfilmfest (films for children) -­‐ Perspek/ve Deutches Kino (promising young talents in german film industry) -­‐ forum of interna/onal new cinema -­‐ retrospec/ve -­‐ hommage

Within these categories films from all over the world are being shown.

Berlinale – InternaIonal Film FesIval in Berlin Facts: -­‐ fes/val lasts two weeks -­‐ each year ca. 350 films are being screened -­‐ most of them are world and european premieres -­‐ it is one of the most pres/gous fes/vals in the world -­‐ it is also one of the biggest fes/vals – 150 000 Ickets are being sold each year -­‐ 16 000 people visit Berlinale each year -­‐ 3600 journalist from 80 countries visit the event

hOp://www.berlinale.de/en/HomePage.html

InternaIonal Cannes Film FesIval Where: Cannes, France When: May Main prize: Golden Palm

History: first film fes/val was announced in September 1939 but took really place awer the world war. Palme d’Or was first given in 1955. In ’60 fes/val build it fame as most recognizable world film fes/val.

InternaIonal Cannes Film FesIval Facts: -­‐ 20 films try to win Gold Palm each year -­‐ 40 000 people -­‐ regular audience and from movie business visit Cannes each year

hOp://www.fes/val-­‐cannes.fr/en.html

London Film FesIval Where: London, UK When: October, November No main prize

History: The beginnings of the fes/val are in 1956, when few well known cri/cts, among them Dilys Powell from Sunday Times having conversa/on on fes/vals in Cannes and Venice decided, that London wshould have its own film event. They intended to show to audience films which are not to be seen on cinemas. On the first edi/on of the fes/val 20 films were screened.

London Film FesIval Facts: -­‐ 280 films from 60 countries are being shown each year -­‐ no prizes are being given, but Bri/sh Film Ins/tue rewards most original film premiere

hOp://www.bfi.org.uk/lff

Toronto Film FesIval Where: Toronto, Canada When: September Main prize: Audience prize for the best movie

History: Established in 1976 as an overview of other world fes/vals.

Facts: „Carriots of fire”, Oscar winning picture, had its premiere screening in Toronto in 1981.

Audience prize went to „Hotel Rwanda” (2004), „Whale rider” (2002). hOp:///ff.net/

Venice InternaIonal Film FesIval Where: Venice, Italy When: August, September Main prize: Golden Lion

History: Oldest film fes/val of such a type. Took place for the first /me in 1932 as a part of 18th modern art biennale. 25 000 people aOended the fes/val. First film screened on the fes/val was Dr Jekyll and Mr Hyde by Rouben Mamoulin.

Since 1945 fes/val takes place each year.

hOp://www.labiennale.org/en/cinema/70th-­‐ fes/val/

Sundance Film FesIval Where: Sundance, Utah, ski resort When: January Main prize: World cinema jury prize

History: Fes/val took place for the first /me in September 1978 as Utah/Us Film Fes/val. Its aim was to bring to Utah ar/sts. Fes/val presented retrospec/ves, discussion panels of movie makers. Low number of movies produced outside Hollywood system was presented (off cinema). It is Robert Redford who build Sundance fes/val renoma and made it worldwide known ar/s/c event.

Sundance Film FesIval Sydeny Pollack suggested to move the date of the fes/val to January, as this is high season in ski resort, which will generate more audience.

Since 1985 fes/val is conducted by non-­‐profit organisa/on Sundance Ins/tute.

Cohen brothers, Kevin Smith, Robert Rodriguez, Quen/n Taran/no, Jim Jarmush are among many ar/st who were first discovered at Sundance Fes/val.

The name of the fes/val is taken from the /tle of the movie Butch Cassidy and the Sundance Kid – Sundance kid is the character played by Roberta Redforda.

www.sundance.org/fes/val/

Norwegian film funding and supporIng organisaIons source of medial and financing support

Hunderfossen One Myth Film FesIval will be something valuable for Norwegian culture.

This should make easier to get support from norwegian film suppor/ng organisa/ons and get press interest.

1. Sørfond: Norwegian South Film Fund “Film is one of today’s most important cultural expressions. Film, as an art form and as cultural expression, combines in a unique way other art forms such as music, drama and moving images. Movies are, at one and the same /me, entertainment, an independent ar/s/c expression, and a medium reflec/ng both our past and our future. Film is also about iden/ty, community, freedom of expression and sense of belonging.” NSFF

The Norwegian Film Ins/tute and the Films from the South Founda/on have recognised that it is difficult for filmmakers in developing countries to realise film projects that are locally based, despite the great demand for such produc/ons. Filmmakers in developing countries have the need for both produc/on capital and interna/onal professional networks. It is in that spirit that SØRFOND was created.

1. Sørfond: Norwegian South Film Fund

FUNDING BY THE NORWEGIAN GOVERNMENT NOK 10 million (approximately € 1,3 million) will be granted for support from 2012 to 2015, through an inter-­‐departmental coopera/on between The Norwegian Ministry of Foreign Affairs and The Norwegian Ministry of Culture. The Norwegian Film Ins/tute (NFI) and the Films from the South Founda/on (FFS) will jointly be in charge of the administra/on of the fund.

OVERALL OBJECTIVE The grant shall contribute to strengthen film as a cultural expression, to promote diversity and ar/s/c integrity on the interna/onal film scene, and to strengthen freedom of expression. The grant shall also contribute to an increased coopera/on between Norwegian and interna/onal film industries. The purpose of SØRFOND grants is to s/mulate the produc/on of films in developing countries where such produc/on is limited by poli/cal or economic causes.

1. Sørfond: Norwegian South Film Fund PROJECTS FROM DEVELOPING COUNTRIES SØRFOND applies to grants for the produc/on of films with a main producer based in a country on the OECD’s current list of countries and territories eligible to receive assistance (DAC-­‐list). In addi/on, the director must have ci/zenship from, or be resident in, a country on the DAC-­‐list. The film must, for the most part, be shot in a country on the DAC-­‐list. In excep/onal cases, deroga/ons may be made regarding the establishment of the main producer in a DAC-­‐listed country, if, due to poli/cal reasons, the film cannot be produced in that par/cular country.

NORWEGIAN CO-­‐PRODUCER REQUIRED The Norwegian co-­‐producer must be a private and independent produc/on company established in Norway that is not predominantly publicly owned, nor substan/ally related to a broadcas/ng organisa/on. The applica/on for produc/on support must be sent by the Norwegian co-­‐producer. A list of Norwegian producers can be found at www.sorfond.com.

The SØRFOND Pitching Forum in Oslo in October is a recommended place for mee/ng Norwegian co-­‐producers.

1. Sørfond: Norwegian South Film Fund

FICTION OR DOCUMENTARIES, MINIMUM 50 MIN. RUNNING TIME SØRFOND supports fic/on films or documentaries with a minimum running /me of 50 minutes, produced for screening in cinemas, on television, or on other audiovisual media pla•orms.

TOP FINANCING At least 50% of the budget must already be confirmed at the /me of submiVng the applica/on.

MAXIMUM SUPPORT NOK 1 MILLION The grant shall not exceed NOK 1 million (approximately € 130 000). Up to 10% of the grant amount may be retained by the minority produc/on company in order to cover its administra/ve costs.

1. Sørfond: Norwegian South Film Fund

ASSESSMENT AND SELECTION

The assessment and selec/on of the applica/ons shall be based on an overall assessment of ar/s/c, produc/on-­‐related, economical and technical aspects of the project. Par/cular emphasis is placed on the purpose of SØRFOND and the project’s cultural iden/ty, including the use of local languages and local shoo/ng loca/ons. Emphasis is also placed on the director’s and the producers’ experience, as well as the representa/on of women in key posi/ons.

A panel consis/ng of three to five members appointed by the Norwegian Film Ins/tute processes the applica/ons and nominates candidates to the Norwegian Film Ins/tute, which holds the decision-­‐making power. At least one member from a DAC-­‐listed country shall be represented in the panel. hOp://www.filmfrasor.no/sorfond/

2. Norwegian Film InsItute

The Norwegian Film Ins/tute (NFI) operates under the auspices of The Royal Norwegian Ministry for Culture and is the government’s civil execu/ve body for the film sector and its advisor in ques/ons of film policy. Through Regula/ons delivered by the Ministry and its general mandate the NFI is charged with puVng the government’s film policy into prac/ce.

2. Norwegian Film InsItute The NFI provides support for Norwegian Films, televisions series and electronic games, and organizes training and talent development in the sector. The Film Ins/tute represents and informs about Norwegian film on the na/onal as well as on the interna/onal level. Through our web site, the Film Museum, and exhibi/ons in the Film House the NFI protects and disseminates knowledge of and understanding of the Norwegian film heritage.

The Ins/tute is furthermore charged with facilita/ng and marke/ng Norway as an aOrac/ve shoo/ng loca/on for foreign film producers.

2. Norwegian Film InsItute

The NFI is located in the Film House in Dronningens gate 16 in downtown Oslo.

The Film House is a focal point for the film business, the public and for film administra/on.

The Ins/tute at present has approximately 100 employees, organized into departments of: • Development & Produc/on • Promo/on & Interna/onal Rela/ons • Public Services • Administra/on • Informa/on

2. Norwegian Film InsItute The laOer department is in charge of the Cinematheque. The NFI has at its disposal two state-­‐of-­‐ the-­‐art cinema theatres, the Tancred and the Lillebil.

The Film Ins/tute represents Norway in the European co-­‐produc/on fund EURIMAGES and in the European Audiovisual Observatory.

The NFI is a member of the interna/onal film archives’ organiza/on FIAF, and of a number of other interna/onal bodies and organiza/ons in the film sector, among them the Interna/onal Council of Educa/onal Media, European Film Promo/on and Scandinavian Films. hOp://www.nfi.no/english/funding

3. Film Commission Norway Since 1. of January 2009 FILM COMMISSION NORWAY is a part of the reorganized Norwegian Film Ins/tute. FILM COMMISSION NORWAY aims to encouraging and support interna/onal film produc/ons in Norway. As a na/onal film commission it also acts as a link between the na/onal and the interna/onal film and television industry. As demand for professional loca/on services has grown, a number of qualified companies that are willing to assist in this process have emerged. They can assist with either finding loca/ons or to deliver a full package of line produc/on. hOp://www.norwegianfilm.com/index.php

More data on film market in Scandinavia

Film market in Scandinavian countries

Ticket price in Norway cinemas in 2013 ca. 100 Kr.

Film market in Scandinavian countries

Ticket price in Norway cinemas in 2013 ca. 100 Kr.

Film market in Scandinavian countries

Second admission among Nordic countries awer Sweden

Film market in Scandinavian countries

Ticket price in Norway cinemas in 2013 ca. 100 Kr.

Thank you

in case of any inquiries please contact

Piotr Matecki m. +48 668 762 531 e. pprojekt@gmail.com

All rights reserved to Piotr Matecki Brumunddal, March 2015