Whatever the reason for their joint production, producers and directors must focus on the story they are trying to tell instead of trying to satisfy all the fans and markets, the main message about international production in Hong Kong was the continuous Filmart.
Estandar era, President of the Kingdom of Saudi Arabia Red Sea FundThe recently expanded to include Asia, comparing joint production as a player: “Every element you use comes with positives and negatives-you will get ten points with this element, but perhaps five points in health.”
He explained that Saudi Arabia has already participated in hundreds of international joint production through the Red Sea Fund, including the Oscar -nominated titles Four girls and The man who sold his skillN, directed by Kaul Bin Hania. But he advised that the scenario always come first: “I see that the artistic side is sometimes challenged; the participating producers give you notes on the text program to change something that makes the project look good in their country.
“This happens a lot with African and Arab films-there is a European review list, and you may want to add a shower scene to win a prize. We also see a lot of contracts in which the writer comes. So you need to carefully choose subscriber producers.”
However, Estandar added that the Arab world has also learned many useful skills from working with Europe, especially the Saudi film industry in the Kingdom of Saudi Arabia and young Saudi directors, who participate in joint production only only to learn how to collect a movie.
The product from Les Petites Lumières from France, which works throughout Europe and Asia, agreed to focus on the scenario, especially when it goes through tours of translation with different joint production partners: “You get additional partners and the scenario is translated back and forth, then one day does not recognize the original writer or director.” “I call that the hole of the rabbit. If it comes to that stage, then I cut it and say let’s forget joint production.”
Devilors, who managed Beijing is a man During the epidemic, he also said that it is easier to participate in production within Europe or only in Asia, rather than bridging the cultural gap between the two continents. But interest in joint production increases with the decline in the world, the collision of cultures, and funding becomes more difficult to find it. Even the major Asian countries, including China and South Korea, are looking beyond their borders.
“Many makers of young directors are also studying abroad and then returning to their homes, so they started a much more international movie language, and they can interact with European or other American companies because they have become more homogeneous,” Devilors said.
Gabriella Tokio, CEO of Brazil Golan (Sinaand Fate), Which is the feature of joint animation Noah’s sarcophagus With India, he said it is always difficult to move through financial feasibility and creative integrity, but this is always worth: “There are two elements that we always try to preserve: one is a local site, which means bringing culture and local elements to the project, and the other is to reach a global audience that you need to bring global signs.”
I also talked about the importance of temporal streams in joint production, as public funds often have a final date that ends. “You must be very careful if you collect money before your partner, because your financing may run out before everything else is in place and you make the movie.”
The Malaysian producer Lorna T, who also managed the committee, noticed that Asia and Latin America participate in many similar cultural standards and have many capabilities to work together: “The distance is a bit geographic distance, so how do we find that material distance and find the common causes of communication?”
Justin Kim, head of international films in the Korean studio CJ EnmI talked about joint production from the perspective of a large company. CJ has already dealt with a large amount of local language production in regions including Indonesia, Vietnam and Turkey, but the main studio goal is to target the box office and the local audience.
“From my experience, I realized that every country and creator have different needs of joint production-some are looking for joint production partners in the first place for investment, some of them are looking for the distribution of domestic synergy and marketing, and some to obtain international sales strategies that they want to develop together.”
Tan C, Managing Director of Momo Films in Singapore, explained that the producers in her country are on the opposite side of the spectrum-with a small market and residents, Singapore finds that it is necessary to joint production to reach the international masses. With the support of the basic government support, Singaporean producers collected common productions “speaking to different regions” and defeating the International Festival circle.
“Not every movie must be joint production,” she added, but there are cases that are necessary to get the movie. “It really depends on what your movie needs-if you want to click on money from a specific country, or work with two craftsmen from France, or if you want to benefit from actors from Korea. I think that this understanding of your project before jumping to joint production, and moving to bed with each other, prevents the drama that is not available to the bottom of the line.”
Even China is the main righteousness, which has become more self -sufficient, even before the epidemic, opens to joint production again. Eric Lin, head of international content in China Papa photosHe said, after the aftermath, the fans have become more open to the diverse content, but this also means that the competition has increased: “Now you are competing with everyone because the audience is all watching the same kind of content on OTT platforms.”
“We are always thinking about how to create better content, sweet content, so we are looking for more move projects,” Follow Lin. “It is no longer a matter of trying to find a project that serves both marketing, because the audience is developing. So instead, you try to withdraw resources from different areas to create a movie with a better story.”
Lynn use the last Hong Kong The last danceIn which Alibaba’s photos with Motion Emperor photos in Hong Kong. Although a smaller movie moved by the story, not a big scene in the field of movement like most Hong Kong Cena’s mockery, the film was successful in both Hong Kong and China.
