While there are several European film funds that are accessible to South African and African filmmakers, it requires specialised knowledge to access them.
“Robert Rodriguez’ first feature film El Mariachi cost $16 000 to make and went on to be a big hit, which proves that filmmaking is not about the money. If you have a good story you should be able to find finance.
“It is often said that there are only 16 basic movie plots or stories in the world, all drawn from Shakespeare, Dostoyevsky or Aristotle. The difference in any story is your point of view – that’s what makes a script unique,’ said Roshanak Behesht Nedjad of the European Audioisual Entrepreneurs (EAVE) training and networking organisation at a recent Durban FilmMart master class.
Nedjad told delegates about a French website that lists every possible means of funding available for whichever country – www.souslarbreapalabres.org
She stressed that besides the type of financing you access, it’s important when, where and how you apply. If you apply for funding too early in a project’s development it will burn out in a year or two.
“Once the script is ready approach producers in other countries but only if you have a certain percentage of financing from your own country. Cast your leads when you pitch because it’s like a package that you can present to potential investors.
“European countries most likely to be interested in African projects are France, Germany, Switzerland, Belgium and the Netherlands. Italy and Spain are not a good idea and neither are east European countries because they struggle to finance their own films. It’s also important to remember that the UK only finances English-language films,’ commented Nedjad.
Treaty co-productions
An official treaty co-production can give a project dual nationality as long as there is an exchange of technical and creative input and if you abide by the rules.
“With co-production status a film can get national film funding, distribution and support from both countries. Co-production opens up a whole world for your film. South Africa has co-production treaties with Germany, Italy, France, Ireland and the UK as well as Canada, Australia and New Zealand,’ stated Nedjad.
Fund options
She noted that there are three kinds of financing services available in Europe and all three can be accessed by the filmmaker.
They are: money that you can spend however and wherever you want; mixed funds where you have a local producer in the other country and you need to spend some of the money there; and funds that can only be spent in the region they come from – you can shoot or post-produce there or source your cast and crew there.
Nedjad suggested that South African filmmakers try to access, among others, the World Cinema Fund. This is run by the Berlin International Film Festival and requires that you apply with a German co-producer and that you shoot in Germany. For France’s Cinema du Monde fund you need a French producer and you have to post-produce the film there.
She noted that Europe is extremely bureaucratic and that’s why foreign filmmakers need a local producer to help fulfill the requirements.
“There is another source of funding but it’s very difficult to access – European broadcasters. Europe is a rich continent in terms of countries but there isn’t enough money to go round, even for European films. ARTE might finance non-European films as might one or two other broadcasters but it’s very tricky to pull off,’ said Nedjad.
Market circuit
Co-production markets such as CineMart in Rotterdam and the Berlin Film Festival are a good source of funding as they all have prizes with money. There are also script development projects, as found at festivals such as Sundance and Torino, as well as the Jerusalem Film Laboratory.
According to Nedjad a big problem is that there are too many film projects in the global market. “However, people are looking for fresh stories and new talent. The first thing you need to get right before you apply for funding is the script synopsis. This has to reveal the movie’s universe, the story (in no more than two lines) and the tone and feel of the film.
“Don’t worry about describing the plot in detail. Remember that you are pitching to business people who get bored easily so you have to make the synopsis quick and easy to read. Never make a synopsis longer than a page. Photos are helpful if they reveal the tone, taste and atmosphere of the film.’
Partners
How does one find the right European producer? Nedjad continued: “You need to travel and make yourself visible. Go to festivals, co-production markets and script development programmes. It’s vital that you network; Europe is very big on networking. If you have a short film send it out. Use the whole “six degrees of separation’ theory. You know someone who knows someone who knows someone…
“Also utilise websites such as YouTube, Kickstarter and Indiegogo. Kickstarter works specifically for issue driven documentaries. You may be able to raise money through donations.
“Marketing your project can be helpful if you have a website or blog that has about 20 000 hits. Awards are important because there is an ocean of films out there so an award win for your project brings it visibility. If you have a film with an issue, think of a way to make it public via a website or blog.’
Nedjad concluded by saying that the destruction in the movie The War of the Roses is nothing compared to a co-production that goes wrong.
“Co-productions must be based on trust. Remember that you can’t protect or copyright an idea which is why you must have trusted partners,’ she added.
By Joanna Sterkowicz
screen africa magazine – october 2012
