Everything outside may go to hell, however The sunny side of the document The real happy place in the world may be now imaginary. Currently in 35Y General, the event is a testimony of flexibility The documentary Film industry, both in its continuous support for the story -based story novel in all its many forms, as well as its appreciation of the type of support network that lacks the production of feature films. The focus here is on problem solving, and projects reach all possible production cases; Some people need money to start, others only want buyers to get them out of the market. Some are commercials like hell, others are very specialized, and the beauty of this event is that they are all welcome.
“Sunny Side of the Doc for some reason,” is noticed by Aurélie Reman, who was with this event for 11 years, and last year became the Managing Director. Optimism is the keyword, and it is definitely infectious; A committee related to the hard topic, which is likely to control the digital content, has proven surprisingly encouraging for an audience of delegates looking for ways to free traditional financing flows. It does not make sense, the terminology is inhibited here, and Sunny Side’s attempts to highlight the positive lights like the hot summer sun flowing on the picturesque French city of La Rockelle.
The deadline sat with ReMan to discuss this year’s edition.
The deadline: When do you start planning for every new version? Do you start immediately after the last time?
UrElie Roman: We have interrogation sessions immediately, in July, then we have a break. But in September, we start preparing and thinking about the main directions. A consulting committee has organized, so we already have some anticipation on the topics and topics that we would like to explore for the next year. The main topic of this year was new ways to tell stories a way to start setting these new methods, and the study is that we may have to distinguish between decision makers or new financing sources, but this will be the next step next year. So, while we identified some major topics, for me – in my new league – I also wanted to define these tracks better, whether you are an independent product, distributor or emerging talent trying to succeed in international markets. For me, these are the three tracks that we want to continue to develop. The matter is not related to the quantity. It is about the quality of the players we can attract.
The deadline: What are the main areas that you have set this year?
Riban: This year was really related to re -designing the topic of innovation, whether in terms of storytelling forums, or in terms of how to finance documentary films today, as well as, of course, in terms of talking about what artificial intelligence can do for you, whether you are originally or broadcaster. I really wanted this edition to be very pragmatic, especially because we know the difficulties faced by independent producers in particular, in terms of lack of assignment. But also on the other side, for the broadcasters, there have been a lot of cuts in the budget, especially for public broadcasting. Therefore, we really want to get a space where we can hold these difficult conversations, but we can also define common goals. To do this, I think we also need to speak, completely frankly, about the amount of money already on the table and we think wisely in the best destination for real content.
The deadline: Where do you get your Intel? Is it in general, or are you leaning on certain people?
Riban: We can rely on some major organizations as in France, we are lucky enough for many unions in terms of independent producers, but we travel a lot, and we also attend markets and other forums. Yes, so we get the materials. We manage some investigative studies after each event, as well as to understand the best actual needs of the market, whether it is on the funding side, but also regarding the topics they want, but they do not necessarily have the main knowledge or communications. Therefore, it helps us to present programming that can tend to expect what will happen, but it is also very realistic in the actual state of the market for documentaries.
The deadline: This year has announced a partnership with the Lattered Content meeting. How to decide this type of focus? Do you respond to the cultural need, or do people come to you asking for a platform? How does the attendees reflect?
Riban: Only in terms of attendance, I think we are at 50/50 in French and internationally, but 82 % of Europeans. At the same time, we allow ourselves to explore some new documentary areas. For example, when we decided to cooperate with the Limte Content meeting in Brazil, it was after we identified the fact that we had received less projects than this region. Therefore, it was the first question mark – it seemed to stop developing projects, or for some reason, they did not reach us anymore. Therefore, we discussed this with our partners. Because for me, the main situation is to explore if we believe that the potential can become something more sustainable or not.
In doing this, the sunny side sometimes exceeds. It is not only about hosting a land width; It comes to advice correctly to local public financing institutions. Or even running guidance programs in this field. This is what we did with Brazil. We have also reached a strong delegation for the producers, some of the main actors who have money and also some channels and plates who attacked the idea of international joint production, because we help them understand what it already means from a European perspective. This does not mean that it is the only way to do this, because we also have to adapt the model with those coming from the global southern countries and regions to better understand their fans. We try to build bridges. This is the goal.
The deadline: Amnesty International everywhere this year, but you did not go to this topic. How did you deal with it?
Riban: I think we really wanted to be identified not only as dangerous, dangerous, or as dangerous, although we know-and some channels spoke about this-the issue of trust is very important, especially in the political and political context today. But then, it is also a matter of how you can redistribute the value of content creation? Thus, people say, “Well, can we sell our content to AI Generative tools?” Because this is the flow of new revenues that we did not specify, and we also have to think about it, yes. But then, by doing this, what kind of content will be created after that? I believe that we are all familiar with our documentary society that we will not enter a model or process that will finish creating biased information, biased documentaries, biased images, or biased behaviors. Thus, we all want to be responsible for the work we do, but it cannot be denied that in terms of the cost of production, this can also be a very big help. I often hear from artificial intelligence professionals, or people who are already working in this field, that we are already late, and that our society also needs to understand that it is likely to change the way we work, changing professions. I mean, it is going faster.
The deadline: Do you find that things are moving faster now than you are used to seeing?
Riban: Yes. For this reason, we had a painting talk about his digital year in his year. Some of the main players who had already had the plate have worked [in that field] For 11 years already. I do not necessarily see our traditional documentary or broadcaster, which makes it a priority, but this is the idea. What do you do when you have lower commissions and you still need to manage your production company? This is one of the main questions we ask here in Sunny Side. But I also believe that we need to answer it collectively, because it is not just a matter of what the producer can do regardless of distributors, but rather needs to re -create a new business model as we share common concern. How much money do we need? How much money we win?
But then it is also related to ethics. For this reason, we also wanted to have a large strand dedicated to originality in telling stories, because changing the model will also require us to keep the doors open from global southern lands and talents, and to ensure that we are doing fair international joint production, as it seems that joint production is the solution, and we are born as an international participant and we want to remain in this way. Then I think the values behind this, especially in this documentary society, will need to be redefined. I hope the sunny side is a space for these types of conversations as well. But we are very flexible. Even during 11 years in Sunny Side, I saw our society able to adapt. I often heard the phrase “air conditioning or death”. [Laughs.] This is where I see things. I would like to be able to expect instead of responding to our role as an event in the market.
The deadline: Is there anything you brought this year you did before, or anything you have improved in a certain way?
Riban: Yes. Well, the top of innovation is new. The top of the archive is also new, with a special approach to the first nations, regarding the end of the archived colonialism – because with the presence of those new countries to the markets, they come with various problems. Often for the first societies of the nation, or African countries, it was about first and foremost to be directed by the audiovisual heritage. I think it is very important, too, to be heard and understood in Europe, to find better ways to work with these talents and support them in telling stories alone, but knowing that they really want to reach the world fans as well. Regarding what is new, the distribution side is likely to be something that we highlighted, because they need to be more clear, because their role has changed and really needs to identify the partners of creativity.
The deadline: What do you think of the temptation of people to come to the sunny side?
Riban: Well, I will repeat what I heard in the past few days. I know it is sometimes difficult to reach La Rochelle, but as soon as you are here, people really feel that they feel an atmosphere. People are put more, it’s the last event of its kind in the season, and everyone finds even more easy channels and executives. This is one thing. But we also want to maintain a human size market as well, so it is best to keep things in about more than 2000 delegates by ensuring that we have the most relevant people. Also, since it is important to have, in France, a very international event capable of attracting professionals from external companies, and the event that focuses on business. It is a market, we are not a festival, and we have done it for more than 35 years, and we really distinguished us in terms of what we offer. Strong promotion sessions, they really respond to what the market is looking for. We have always been able to maintain what the industry needs, and as a result, we create a great feeling of society, I think.
