Opinion

Lack of support at Cannes

Filmmaker David Gould shares with Encore his experience with Screen Australia at Cannes.

Ever wonder why overseas productions aren’t coming to Australia or why it is so difficult for Australian producers to gain exposure in the international arena? Two reasons: zero exposure and lack of support for producers.

Sunday, May 16

I’m sitting here at Cannes writing this in the Film Market. To my left is a large booth with the banner “CINEMA FROM SPAIN”. To my right is the Belgian film commission with a large booth. Where is the Australian booth? There isn’t any. Instead there is a small apartment on the 8th floor of a building accessible only by a side street with no signage. Whatsmore, the lift only goes to the 7th floor, you then must exit and take the fire escape up to the 8th floor (again no signs) till you reach Screen Australia’s presence here.

Why does Screen Australia think it doesn’t need to present itself at the Film Market? Even Costa Rica is here and touting their incentives and locations.

Maybe this is an isolated incident? No. At the American Film Market last year Screen Australia had a single room shared with other attendees. They had one person there and their job was not to promote Australia but instead to track the sales progress of a few select Australian films. Something that could easily be done back in Australia after the market. They provided no support or help for Australian producers visiting there.

Seems they apply the same approach here in Cannes, though a few select producers obviously are worthy of their efforts. The others are left to their own devices.

As a diligent Australian producer I went to the Screen Australia apartment and asked a simple, innocent question “We’re Australian producers and were wondering if Screen Australia is providing any business to business matching or other events in which we could meet co-producers, etc.”. We were then told under no uncertain terms that “All the functions and meetings have already been booked out. Only a select number of Australian Producers are allowed to attend those meetings.”

OK, no problem, we don’t rank really high on the totem pole, but let me put this into context. We have a short film Awaken showing as part of Short Film Corner and we’re here pitching an action/thriller feature film Stolen Senses.

Despite Screen Australia’s lack of support for such “undeserving” producers such as ourselves, we’ve already met with 15 international sales agents. All have requested a copy of our screenplay and several have requested that we don’t sign anything with anyone else until they get a chance to give a counteroffer. One is having coverage done on the script right now so that they can make an offer while we’re here in person in Cannes. Two others wanted a printed copy so they could read it on the flight home and therefore give us a response immediately after Cannes.

The project has garnered the interest of an international producer that absolutely loves it. He has put it at the top of his list of projects and is actively arranging casting options, locations, as well as financing.

Note that we’ve been able to achieve all this without the slightest assistance from Screen Australia. My heart goes out to other Australian producers back home hoping that Screen Australia will be bringing back projects and interest for their projects.

The reality is that it will be the innovative and “hungry” smaller countries that will take the work. They are welcoming and obliging. We have been courted by Hong Kong, Qatar, Abu Dhabi, Germany, and Russia. They are willing to meet and talk and discuss how they can make our productions happen in their countries and are only too willing to give support. Ironically enough I can’t even get into a single meeting with my own country’s film commission.

Should we succeed in getting Stolen Senses onto the screen it will be through shear dedication and unwavering passion, not through any assistance our own film commission.

Some of you will argue, “Hey we offer a 40 percent producer’s rebate!”. Michigan offers 40-42 percent. Canada can offer up to 60 percent. Lousiana is also offering around 40 percent. If we want to be competitive, we need to be visible and support Australian producers that make the pilgrimage to both the American Film Market and Cannes each year.

I’d like it to be different, but the reality is, Australian producers, you’re on your own.

Monday, May 17

Screen Australia were touting how proud they were that there was a record 237 producers this year attending Cannes. Interestingly enough this is in a year when no Australian feature films have been selected in competition, so there are a lot of Australian producers here pitching or selling their own projects. They’ve put up their own money and time to come here. Any small support they can get with regards to business matching, contacts, etc would really help.

As mentioned before, we’re not bitter about our Screen Australia experience. We have been having a great time here in Cannes. We’ve had lots of meetings and our project Stolen Senses has gained significant interest. My concern is that there is a distinct possibility that the project will be going overseas and had wanted to meet with SA to discuss how we could keep it in Australia.

Given their terse and abrupt attitude when we arrived at the reception area we weren’t offered any followup. It is already very hard trying to get independent films funded and with so many hurdles in our way, we just don’t need additional problems.

If an overseas country is offering great incentives, they are welcoming, supportive and accomodating why would we want to continue banging our head against the wall back home. So add it to the long list of great projects that will be lost to Australia as it will likely be shot overseas. I wish it was otherwise.

It was interesting to note that we hadn’t been invited to yesterday’s Australia-Canada function by SA, yet we met with a Canadian producer that liked our project and invited us along. It is ironic that film commissions from other countries are more willing to open their arms and start the dialog then our own.

(parts of this opinion piece were originally published in Gould’s Facebook page)
Note from the editor: Head of film programs Richard Sowada has posted a response to David Gould’s piece on the ACMI blog.

ADVERTISEMENT

Get the latest media and marketing industry news (and views) direct to your inbox.

Sign up to the free Mumbrella newsletter now.

 

SUBSCRIBE

Sign up to our free daily update to get the latest in media and marketing.