06/12/2005

An important annual meeting of French cinema professionals, the Beaune Meetings organised at the end of October by ARP also provided an opportunity for Cineuropa to meet the German author/director and producer, Peter Sehr (P'Artisan Film). Honoured with a Silver Leopard in 2001 at Locarno for his 4th feature-length film “Love the Hard Way”, the filmmaker has also been an important figure in the cooperation between the German and French film industries, as he co-directs the Atelier/Masterclass of cinema in Ludwigsburg and Paris. The Atelier/Masterclass is a one-year programme for future producers and distributors of European films.

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Cineuropa: What progress has the Atelier/Masterclass made five years after its creation?
Peter Sehr: The course, half of which takes place at the Fémis in Paris and the other half at the Filmakademie of Stuttgart (Ludwigsburg) now includes a third of French students, a third of German students, with the remainder coming from six other European countries. Half of our students have already completed production studies, others are lawyers, economists... We cover production, distribution and even exploitation, which is quite rare in schools. In particular, we analyse the current systems in France and Germany, but also in Spain and Poland, for example, and Geoffrey Gilmore, the director of the Sundance festival comes every year to give lessons on independent production and studios in the United States. At the end of the course, each student produces short films based on French-German co-production, in collaboration with Arte, the Baden-Wurttemberg Filmakademie and the Fémis. The Masterclass is now in its fifth year and last year an association of former students was set up, which organises three meetings a year. (Cannes, Berlinale and the French-German meetings “rencontres Franco-allemande”). About 50% of graduates have set up production companies with projects already launched, while others work in European institutions or at Europa Cinemas, for example. Living together for one year has helped to forge long-lasting links, which could also have an influence on the distribution sector. In fact, one of our former students is now a distributor in England for French and German films.

You are also involved in the organisation of the annual French-German meetings.
I participated in their creation with Daniel Toscan du Plantier and Margaret Menegoz. The first two meetings took place in France, this year the Rendez-Vous will take place in Cologne and in 2006, it will be Munich’s turn. These events play an important role in Europe and Unifrance launched the same thing/project in Italy and will do so in Spain in between the 18th and the 20th January 2006.

What is the potential for achievement of these exchanges between European professionals?
There remain quite a few differences between the French and German systems, which don’t make the setting up of co-productions easy. The French-German meetings however give us the chance to discuss ways of improving co-productions and regulations. For example, in Germany, everything that is European is also German, so an English actor would be considered German, whereas in France it is necessary to be French (laughs) in the points system. Where languages are concerned, in Germany even a synchronised German version is enough for a film to gain approval, whereas in France the film has to be made in French. This is one of the reasons why French-German co-productions are almost always largely French productions. But I am optimistic, as there are suggestions to find more favourable regulations.

How can the distribution of non-national European films be improved in Europe?
What’s most important is that the films are a success because structures aren’t enough. In France, with the exception of Good Bye Lenin ! [+see also:
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film profile], German films haven’t been a success and the negative experiences over several years have had the result that distributors are no longer interested in German films. On a more general level, I think that in Europe there is currently a more homogenous type of creativity, but in the 1970s there was much more happening on a cultural level. People were interested in what was happening in other European countries, in theatre, literature and cinema. Now, the trend is towards a focus on one’s own country, what in individual behaviour corresponds to cocooning. In Europe we should try to counteract this. As regards distribution, if Media Plus didn’t do anything, I am sure that several European films would never be shown in other countries. The European Cinema network also plays an essential role. I also manage a cinema in Munich and in order to reach 25% of the non-national European films programmed, I have to examine very carefully which films were a success and how. This requires us to look at what’s happening in other countries, which is a good thing.
On a co-production level, I find that the mini-agreements, such as the French-German agreement help enormously. The Germans are going to sign an agreement with Spain, and France has planned projects with Italy, Spain and England. A co-producer considers a film his child, even if it is fragile and he looks after it as best as possible. In the case of a simple purchase of rights, if the film isn’t a success, interest is lost immediately. The psychological relationship is completely different when one is a partner and can benefit from having access to all the subventions possible in the country of the other co-producer. For many films, the amount paid by the French-German mini agreement (€500,000 – €600,000 for each of the six films selected per year) represents 20% of the budget and without this contribution, some projects would never see the light of day. It is also necessary every 2-5 years to reflect on the results and make changes to the system if it isn’t efficient enough. Contrary to what is sometimes thought, all initiatives at involving trans-European collaboration are welcomed with open arms. Even the French market now needs European partners.

How can German cinema regain market share at home?
In Germany, the market share for national films varies, depending on the year, between 8% and 15%, but more often than not, the share is under 10%. Distribution is almost exclusively under the control of the Americans. The priority is to begin with schools. If young people don’t know the history of cinema in their own country, they cannot tell the difference between Hollywood cinema and European cinema. In France, Belgium and Scandinavia where cinema is taught, national films perform much better and are more appreciated. It is worthwhile to provide more funding for screenplays or productions, but it won’t be enough to really change the situation. Investment in youth is needed and in teachers who have studied cinema (even as an option) so that future cinema teachers are not just cinema enthusiasts but real professionals. This will take time – 15 years at least – but we have to start now.