News

Agora Training Day

59th Thessaloniki International Film Festival

[1-11 November 2018]

Agora Training Day

 

The Agora Training Day took place on Tuesday, November 7, at Warehouse C, as part of the 59th Thessaloniki International Film Festival in collaboration with CED Media Greece. Well-established professionals from the film industry shared valuable information and practical advice with young producers and film directors, offering a series of structured and useful guidelines that enlighten the ways and paths to achieve international co-productions and partnerships.

 

At the first part of the Agora Training Day, a delegation of the Shanghai International Film Festival, comprised of Jianwen Shen (director), Edward Xu (Manager SIFF Market) and Qi Yan (manager), presented a thorough overview of a festival that was first held in 1993 and grew to become one of the largest and most outward-looking film festivals in Asia.

 

Facts and figures on the 2018 Shanghai International Film Festival:

 

  • an impressive number of 3,447 films were submitted, originating from 108 different countries
  • a total number of 384 mainstream media platforms and 1,338 journalists were involved in the media coverage of the festival
  • a total of 293 exhibitors were displayed, attracting 19,698 single visitors
  • 493 Chinese and foreign films were screened in 45 movie theatres
  • the “Asia New Talent” section drew a total number of 254 submissions

 

A brief overview of the Shanghai International Film Festival “Market” section

 

  • the SIFF market specialises in the areas of film financing, legal services, digital games, international co-productions, advice and guidelines on the stages of production and post-production
  • within the framework of the “Market” section of the SIFF, masterclasses held by professionals from the film industry elite, as well as a remarkable number of pitching forums for film projects, took place
  • a number of 60 films, originating from 18 different countries, were submitted in a platform for international collaborations
  • consultation services were offered throughout the festival to all producers and directors wishing to engage in film shooting in Shanghai.

 

Additional Information

 

  • a detailed guide to 200 selected locations for film shooting was handed to all producers during the 2018 SIFF Festival
  • starting from June 1st, the Shanghai International TV Festival initiates a “Co-production Market” section

 

 

At the second part of the 2018 Agora Training Day of the 59th Thessaloniki International Film Festival, Venia Vergou, the director of the newly formed Hellenic Film Commission (HFC), presented a comprehensive guide to all the actions and steps undertaken by the Hellenic Film Commission, aiming to attract foreign productions in Greece.

 

Which are the main functions of the HFC?

 

  • connecting foreign producers with the Greek Industry Guide
  • providing guidance regarding film permits and incentives
  • promoting locations, crews and facilities in both national and international events
  • collaborating with relevant ministries and public bodies
  • networking with local authorities

 

Memberships of the HFC

 

  • the European Film Commissions Network (EUFCN)

*Corfu is Greece's candidature for the Best European Location Award bestowed by the EUFCN

  • the Association of Film Commissioners International (AFCI)

 

Upcoming events

 

  • Locations – Film Tourism Open Discussion (November 2018 – Athens)
  • Focus – A Meeting Place for International Productions (December 2018 – London)

 

Things to keep in mind regarding film permits:

 

  • The HFC does NOT issue permits, but acts as an intermediate between producers and the public bodies
  • Film shooting that takes place in archaeological sites demands the issuing of a certificate, that is granted only upon examination and approval of the film script (violence/racism/sexism clause)
  • The HFC draws up formal letters so as to facilitate the issuing of the aforementioned certificates (27 letters have been drawn up between April 2017 and October 2018)

 

Greece's comparative and strategic advantages in attracting foreign productions:

 

  • 6,000 islands, 227 of which are uninhabited, thus providing an excellent exotic background
  • diverse and complex geography (picturesque villages, volcanoes, forests)
  • ability to mask, disguise and stand in for other places (e.g. the Middle East)
  • archaeological sites (both Ancient Greek and Byzantine)

 

Actions and steps taken (or planned to be taken) in the right direction:

 

  • a mentality of synergy between film production and tourism (ongoing collaboration between the HFC and the Greek National Tourism Organisation)
  • the elaboration of a shortlist of foreign production companies possibly interested in producing a film in Greece, conducted by the HFC
  • the upcoming creation of film offices throughout Greece (a necessary step given Greece's complex geography)
  • the anticipated simplification of the film permits' procedure
  • the much needed accumulation, identification and organisation of all relevant data
  • the emphasis on young professionals training programs and the sought-after close collaboration with Greek Universities

 

At the third part of the 2018 Training Day of the 59th Thessaloniki International Film Festival, Lina Manolopoulou, representative of the National Centre for Audiovisual Media and Communication (EKOME), provided the audience with a thorough analysis on the Greek Cash Rebate system.

 

What is the minimum amount of eligible expenses in Greece?

 

  • Fiction / Film – Documentary: 100,000 euros
  • TV Series: 30,000 euros per episode
  • Digital Games: 60,000 euros

* Overall, an amount of 75m euros is guaranteed through the Greek Public Investment Programme for the period 2018-2022

** There are no limitations concerning the duration of the submitted projects

 

List of non-eligible candidatures for the Greek Cash Rebate Programme:

 

  • music shows
  • TV sports shows and broadcasts
  • reality shows
  • commercials

 

Applications:

 

  • All applications should be submitted at least 2 months prior to the beginning of the production / post-production of the film, in Greece
  • All applications must be submitted via EKOME S.A.
  • All applications are submitted via an electronic system
  • The amount is payable no later than 6 months after completion of the production/post-production, provided that all prerequisites of laws and regulations are met
  • All applications are considered on a cultural test point-system basis

 

In the fourth part of the Agora Training Day, Vicky Miha (Heretic Asterisk Film and Media Consulting agency) shared her professional experiences regarding marketing techniques.

 

What sort of film materials can be used for presenting a filmic project?

 

  • First group: The BtoB materials

Business-to-business materials consist of the industry inside the industry, so to speak. These materials are used to communicate one’s project to the industry professionals in order to find distributors and sales agents.

  • Second Group: The BtoC materials

The latter is used to communicate a project to the audience so, upon release, to select the right kind of marketing materials for introducing the film to the regular viewers. A lot of studies provide data that look into the European audience’s current disposition. European films are considered original, thought-provoking, but also “slow” and full of heavy storylines. According to an 800-page study, trailers are considered the most effective tool for persuading people to go to the cinema. Also, the number one marketing technique is word of mouth. What your peers say about a film, for instance. This is something that you cannot buy. These long studies are necessary in order to gather data that will assist in presenting a film to the industry.

 

What are the most important components for a marketing analysis?

 

  • First, the implementation of a SWOT analysis (Strengths, Weaknesses, Opportunities, Threats) as a strategic planning tool, in order to detect the strengths and weaknesses of your approach.
  • Second, the strategy involving the attempt to find filmic benchmarks. You need to make research and locate titles comparable to your film, to gather data in order to talk about it, and also get to know your market.
  • The third element is positioning, which means the place that a film has in the audience’s minds. The question one should ask is what a film is and who it is for. Can this question be answered with a simple sentence? If yes, then you are on the right track.
  • And last, the element of the target audience. A target audience is divided between a primary target audience (defined by demographics) and a so-called niche target audience which is characterised by a specific interest, such as LGBTIQ community, for instance.

 

As to the basics of a marketing strategy, what are the most important marketing tools?

This depends on whether we are talking about a BtoB or BtoC marketing strategy. Furthermore, we have to distinguish between the tools for the film development and the tools for its release. There are many instances in which a film is properly marketed during development phases. Some of the tools are the following:

  • A pre-production cover photo, a log-line, a synopsis that can be used as promotional material for the professionals, a director’s or a producer’s note, a mood board or mood video, or a film’s key talent in terms of casting. All these have to be properly contextualised through a thorough marketing and distribution strategy.
  • When it comes to the release tools, a festival poster is important, along with teasers, promo reels and stills, accompanied by a cleverly crafted electronic press kit which can also include images from the set. Memorabilia or other goodies are also welcome. As said before, marketing can start really early.
  • One of the most important actions that a producer can achieve in terms of marketing is to hire a good artwork director and also a trailer editor. A very good artwork can be a valid blueprint for the final poster. The producer may also write the synopsis and sometimes coordinate the activities on social media platforms.

 

How important is a trailer for a film?

 - It is the most important element. In order to succeed, trailers and teasers must aim to convince the audience to come to the film. In order to do that you must think carefully how far you intend to go in terms of plot revelation. You also have to always keep in mind who is going to be your audience. Be realistic and reflect upon your expectations regarding the film and its trailer. A good trailer needs very careful handling. Moreover, trying to create a trailer before actually completing the film can turn into a really complex procedure.

- Apart from the trailer, let’s not forget the film title. It is very important in terms of marketing. For instance, you cannot present a new film with a title that has being used very recently or with a title that has nothing to do with your film’s content. You have to make extensive research regarding your title.

- Last but not least, the poster. Try to create posters from early on. Give instructions to the photographer so that you can do a mini shot for the poster during filming on set. It would be easier to have a clear idea about the poster since the beginning. Everything becomes simpler if you are prepared. For your poster you can use the AIDA model (Attention, Interest, Desire, Action) in order to convince people, grab attention and raise awareness.

 

How should I use the social media platforms?

You have to always answer three main questions. How, what and when. Social media are often misused. It is considered a very cheap channel for marketing your project. If you decide to do it, do so with a plan and a strategy. These platforms are called social for a reason. In order to achieve notoriety, you have to provide something different, to find a unique voice for your film.

At the fifth and last part of Training Day entitled “The World is Waiting: Blockchain and New Ways of independent Film Distribution” Jordi Wijnalda, curator and content coordinator of Cinemarket, spoke about Blockchain and Cinemarket online company.

 

What is blockchain?

Blockchain can be seen as a combination of technology and philosophy that goes back to the initial potential of the internet, recreating the status quo of our offline life in the online world. A lot of the power structures that exist in the offline world (governments, banks etc.) are being replicated in the online world. Blockchain is one of these initiatives that try to create wedge on what we are doing with the internet and make more things possible for ourselves. One of the most famous examples of blockchain in the 2010s is the cryptocurrencies such as the Bitcoin, that is the attempt to create a new currency that exists independently.

 

What is its relation with the film industry?

 Blockchain promotes transparency, accessibility and security. It helps to transform the relations from centralised into decentralised, and consequently achieve a sense of equality and interconnection.

Recently, companies are starting to step into blockchain activities regarding film, because this strategy can put the power back into the hands of the film’s original creators and help them map the trajectory of their filmic product without excessive use of intermediaries and, above all, in full transparency. Since 2010, a lot of movie distribution is moving to online platforms. That seems very exciting and prosperous, but I admit that we are not completely ready for it.