Co-production relationships and financing

Besides the presentation of projects at its co-production market CineMart, IFFR Pro organises Rotterdam Lab, a five-day training workshop for promising emerging producers from all over the world. Marking its 20th year, Rotterdam Lab has invited 69 producers from 31 countries to participate in the IFFR Pro Days 2020.

On Monday 27 January, we had a Rotterdam Lab session on co-production relationships and financing. The session invited producers Ewa Puszczyńska from Opus Film, Giorgos Karnavas from Heretic, Amanda Livanou from Neda Film and Patrick Fischer, co-founder of financing and post-production company Creativity Capital. Under the guidance of David Pope, the participants shared best practices and personal experiences with co-productions.

Amanda Livanou (whose recent production Pity was screened at IFFR 2018) kicked off the session by dissecting the two meanings behind what we refer to as a co-production. "It's a technical term, referring to how two production companies can work on the same project within the European model. It’s also a collaboration between creative people, with the intention of making a film happen." Both understandings are equally important, according to Livanou, and the challenge is "to marry the technical part with the part about bringing people together." This is significant, because "if people trust you, there's a lot they can be willing to do for you."

Ewa Puszczyńska (the producer behind Pawel Pawlikowski’s Oscar-winner Ida and the director’s Cannes best director award winner Cold War) continued on the importance of trust. "Most co-productions are much more than financial agreements," Puszczyńska laments. "Each production company involved can bring something from their culture and experience, providing enrichment of the end product." Her main take away: you need to be prepared to navigate complex differences – in culture, work culture and legal matters. "Contracts are important because if nothing goes wrong, no one looks at them. The second things do go wrong, everyone turns back to the contract." Her main advice for emerging producers: "Get a lawyer. It's expensive but worth it."

Patrick Fischer (former producer and co-founder/managing director of Creativity Capital) spoke on behalf of a financing and post-production company. "Investors want to take measured levels of risk," Fischer explains; hence the requirement of elaborate contracts. "Trust is the key thing. We put a lot of trust in producers, and that trust goes both ways. If something goes wrong during production, tell us about it." He also prompts producers to think from a financeer’s point of view, even if you discover you need more money during production to make the film better. "Most creative don’t want to open these conversations, but if it’s viable and, for example, the presales are looking good, approach them."

Giorgos Karnavas (co-producer of Tiger Competition title Kala azar) breached on the importance of sustainability with regard to keeping your company alive and healthy. "Build relationships, hold on the long-lasting ones," Karnavas stresses. "Try to find an organic way to find co-producers.” On the financial front, he advises: "try to get producers fees from the films, to survive, to pay your people and yourself." Puszczyńska chimed in, "take good care of your people," to which Fischer added, “be smart about your budget, think beyond the fee."

Closing the interactive session, following a number of compelling questions from the audience, Amanda Livanou provides her parting advice: "If I and Giorgos are here, coming from a country like Greece, it can be done. Imagine your future – work hard for what you want to do most of the time. Create the environment you want. My solution: think big about the films you want to make, but don’t over-expand."