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What if crisis-stricken Nordic drama producers tapped into other European stories, rather than remaining in the Nordic bubble and self-sufficient ecosystem of national and regional private and public coins? ? Will there ever be a time when European partners, who have supported Scandinavian noir without any kind of reciprocity, will be rewarded?
This question was posed by Helen Parkey, Belgian producer of Johnny Depony in Banijay Benelux, at this week’s TV Drama Vision in Gothenburg, during a panel discussion examining the current mess in Scandinavian drama production and possible solutions. It was done.
“Belgium has soft money, tax deferral and VAF. [Flanders Audiovisual Fund]Screens in Flanders, but you guys in Scandinavia are getting a lot more money from broadcasters and global streamers, and we had to be creative. [with our financing]” Parky said.
“We’ve been watching your series and movies for years and they’ve been there,” the producer said, holding his arms high. “We’ve collaborated, but you’ve never actually seen our series. They’ve barely crossed the border! So I think it’s time to turn the tables.” she insisted.
“Does this mean it’s time to recoup the investment?” asked moderator Marieke, head of international financing and co-production at Nordisk Film Productions and a former buyer for Benelux’s largest Lumière Group. – Mr. Musellas asked.
“Yes, but in a good way,” Pelkey continued. Pelky believes that Belgium’s Flanders region in particular offers great opportunities for Nordic drama producers looking for creative and financing solutions for new drama.
“We don’t collaborate for money, we collaborate for love.” [of storytelling],” Parky asserted, citing his organic collaboration with Finland’s Tekere Productions on the crime drama “Transport.”
Sinove Holsdal, a Norwegian producer at Maipo Film who produced the hit series “State of Happiness” with support from the Lumiere Group, bounced back at the argument, saying: “Belgium is small, like Norway. , it’s a co-production with multiple funding sources. It’s essential to go somewhere with good tax incentives.”
Co-panelist Ulf Sinaholm, head of TV drama at major Swedish company B-Reel Films (The Congregation, Before We Die), said that his work has focused primarily on the rich Nordic He said that he has relied on the national character and images. Regional co-production and financing mechanisms.
“As an independent producer, 2023 was the best year ever. Spring was great and everything looked promising until fall. We lost three projects that didn’t get greenlit and had to regroup. “It was tough,” he admitted. “Currently, he is the only streaming service that is 100% funded. [Netflix] In Northern Europe. We are happy with our local financiers, but increasing co-production in other parts of Europe where tax incentives benefit organic and creative partnerships, while doing so in a sustainable manner. “We will consider it,” he said.
Anna Kronemann, head of theater at SVT, said that while the overall cuts in Swedish pubcasting had not affected the theater department, there were more projects looking for a home. Ta. “We expected the drama bubble to burst probably within three to five years, but everything stopped last year. It’s a tough situation for small regional producers like us,” she said. “The market is upside down,” he admitted, worrying about financing future projects.
Kronemann advised Nordic drama producers to take inspiration from feature films, where co-production with other parts of Europe has been common for many years. “Networks are key. We just need to build similar relationships. We just don’t have the time. We should be doing this not only between broadcasters, but also between producers,” she said.
“Co-production within Europe also means protecting European content. It’s about preserving our values, which is more than a necessity for us. [in the Nordics] It’s about survival,” said Holsdal, a member of the influential European Producers Club. He referred to streamers’ obligation to invest in European content through the Audiovisual Media Services (AVMS) Directive, stressing that signatory countries such as France were “not affected by the drama crisis”. [non-signatory] Regions such as the Nordic countries.
Asked to reflect on the changing role of drama producers in the streaming era, Horsdal said, “Well, sometimes 15 to 20 people are credited as producers. [too] We have many executive producers and associate producers just to get the project done. The question is, who holds the rights? Such a situation can lead to serious conflict. Again, regulation is needed in Europe so that independent producers can retain the rights to their material,” she added.
Popping on the debate about multiple producers playing different roles on TV projects, Kroneman said: I’ve had junior producers who weren’t very skilled suddenly get promoted to more senior positions than they could handle. Things like that will become less common from now on, and I won’t regret it! ” said the Swedish Television Commissioner, who was cheered by several representatives of TV Drama Vision at the Draken Cinema in Gothenburg.
So what will you do to be in a better position? Mr. Musellas asked in his closing statement.
“I’m happy to work for public broadcasting,” Kronemann replied. “We can provide stability and are a sustainable partner. What we are trying to do now is work with other broadcasters to help producers set things up more quickly. ,” she said, referring to the recent New8 European Pubcaster Agreement. “If we want to compete with streamers, we need to be faster,” she argued.
Sinaholm said B-Reel Films will explore more co-production opportunities in Europe while refocusing on quality. “We need to be more selective with our programming and aim for better content and budget management.”
Both Hørsdal and Perquy agreed on the need to improve quality. “Now that the commissioner has narrowed the scope, we have to focus on what we really believe is relevant and worth making,” said the veteran Norwegian producer.
“We have to believe that experience, professionalism and knowledge mean something and that the stories about us as humans are worth telling,” Purkey urged.
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