It’s great to see this accent on co-production and cross-cultural exchange. Here’s what Deidre Brennan, the CEO of Screen Australia, had to say.
“Australia has a huge reputation for being highly creative and collaborative. Co-production has got to be a focus. There’s so much opportunity for creative and cultural exchange, and partnerships around the world.”
To our Australian filmmakers, what do you make of Deidre Brennan’s statement? Are you excited by the article and the co-production potential of your film?
https://www.kftv.com/news/2024/10/18/co-production-australia-ceo
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I am not based in Australia, Geoff Hall, but international co-productions and creative exchange are most definitely of the moment and the forseeable future. I have a friend who works at a studio in London and everyting they do now starts with one anchor country and is then built territoty to territory - and he only makes TV series - so that model is expaniding. Italy and Japan recently announced a co-production deal. We are beocming more intertwined and developing/producing with that global mindset needs to be in one's thinking.
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Sam Sokolow thanks, Sam. There are also initiatives with countries around the Indonesia territories too.
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Coproductions are a great topic for filmmakers to keep themselves updated on. Expos, festivals and film markets are good places to learn more about these during talks and meeting people facilitating/using these. If you can't attend, sign up for international industry news on the trades (Hollywood Reporter, Screen International, Deadline etc.)
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Ewan Dunbar great advice, Ewan. I’m hoping to see you and Sam at Focus 2024 in December.
Just a quick question about co-productions, if I may?
Where does the IP Rights lay when a company reaches out to another, for a co-production agreement? With the originator of the IP, or is it shared between the companies of the agreement? In Europe, this could mean many co-production partners and the dilution of the original IP.
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Looking forward to Focus and seeing more of the community there too. A distinction is usually made between the rights of a project and the right to exploit (broadcast, screen etc.) the project. The rights start with the creator of the work but then can be bought or optioned by the main production company behind it. This is where the project's chan-of-title comes in. For those not familiar, this is a document that logs the history of ownership of the rights of the project and the terms of that ownership - like if a producer has 2 years to set-up finance and production on a project before the rights revert back to the original owner. So if a project is a co-production, the co-producers will have an agreement to collaborate on the project but not own the original IP.
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congratulations!!!
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Ewan Dunbar I am attending the Focus 2024 Conference and noticed that you’d be there. Would you be open to having a coffee with me?