{"id":2485,"date":"2020-06-26T18:12:19","date_gmt":"2020-06-26T16:12:19","guid":{"rendered":"https:\/\/ricerche.apaonline.it\/?p=2485"},"modified":"2020-06-26T18:15:00","modified_gmt":"2020-06-26T16:15:00","slug":"angels-or-demons-european-producers-contend-with-growing-post-pandemic-power-of-u-s-streamers","status":"publish","type":"post","link":"https:\/\/ricerche.apaonline.it\/en\/news\/angels-or-demons-european-producers-contend-with-growing-post-pandemic-power-of-u-s-streamers\/","title":{"rendered":"Angels or Demons? European Producers Contend With Growing Post-Pandemic Power of U.S. Streamers"},"content":{"rendered":"\n

As the Cannes online market moves forward, it\u2019s no doubt that streamers are still the big story in the indie world \u2014 and as European producers try to restart shoots as lockdowns are lifted, their feelings towards Netflix<\/a> and other streaming giants are decidedly mixed.<\/p>\n\n\n\n

There is no doubt that Netflix, Amazon Prime<\/a>, Disney Plus and other global platforms are considered \u201cthe big winners\u201d amid the coronavirus crisis, as Carole Scotta, founder and head of France\u2019s prominent producer-distributor Haut et Court (\u201cThe New Pope\u201d) recently put it during a Variety<\/em>-moderated panel. In meeting the additional demand created by people all over the world forced to stay at home to help stem the spread of the coronavirus, subscriptions to the streamers\u2019 services have, of course, skyrocketed. Netflix, which leads the way, now has 182 million subs in over 190 countries, driven by programming in increasing numbers of languages. <\/p>\n\n\n\n

Netflix, Amazon, YouTube, Apple, Disney Plus as well as other streaming services offered by European broadcasters, such as RAI, France Televisions, BBC, and ARTE, have collectively become among the main drivers of broadband traffic, in Europe and around the world, amid a massive increase of online access to content.<\/p>\n\n\n\n

The streaming platform model is inexorably changing the nature of the film and TV industry and, during the pandemic, when the theatrical exhibition business has been shut down, studios and distributors have been altering exhibition windows, while some indie distribs have been working with specialty circuits to offer screenings and revenue-sharing online. Platforms are also increasingly encroaching on ratings and therefore advertising revenue of traditional broadcasters who have see advertising erode even more due to the temporary loss of live TV and sports events.<\/p>\n\n\n\n

Cash-flush global streamers are bound to play a crucial role for Europe\u2019s indie producers as they pick up the pieces and try to bounce back in the wake of the coronavirus outbreak. <\/p>\n\n\n\n

But while it\u2019s great to have new resources to turn to, there are also deep-seated fears. Mainly that their business model \u2014 involving full-financing in exchange for most of a property\u2019s rights \u2014 could become the kiss of death for the European industry\u2019s already endangered ecosystem and the cultural enrichment it is perceived as providing.<\/p>\n\n\n\n

\u201cThe independent producer is in danger,\u201d says Norwegian producer Gudny Hummelvoll (\u201cOccupied\u201d), the recently elected president of the European Producers Club<\/a> (EPC), a lobbying group comprising 130 indie film and TV drama producers across Europe.<\/p>\n\n\n\n

She notes that European producers are seeing \u201cthe predominance of a financing model based on the one the streamers use, where producers don\u2019t have any rights or [get] revenues back.\u201d<\/p>\n\n\n\n

Hummelvoll points out that there has never been so much demand for content. \u201cBut for what content?,\u201d she says, when algorithms are known to dictate what projects get greenlit by platforms. \u201cThis is a paradox that we are experiencing every day as producers,\u201d she says.<\/p>\n\n\n\n

Of course global platforms represent an opportunity for European producers to grow and reach international audiences.<\/p>\n\n\n\n

But \u201cat what cost?\u201d she wonders. \u201cParticularly when it comes to keeping the rights and deciding what content should be made,\u201d Hummelvoll says.<\/p>\n\n\n\n

The EPC is discussing measures to curb the power of streaming giants with the European Commissioner for the internal market, Thierry Breton, who has created an informal task force on this topic.<\/p>\n\n\n\n

The general idea is to set a new legislative framework so that global streamers participate in some way in the post-pandemic European film and TV industry recovery effort besides just pumping money into productions that play on their platforms.<\/p>\n\n\n\n

There are various ways the platforms could do this. One measure on the table is a \u201cdigital tax,\u201d given the number of complaints from European broadcasters that global platforms are not subject to the same taxes they pay, according to producer Alvaro Longoria, the EPC\u2019s former chief, who runs prominent Spanish indie Morena Films (Asghar Farhadi\u2019s \u201cEverybody Knows\u201d). <\/p>\n\n\n\n

The bigger-picture plan would be to push the platforms to invest money in the broader European system of subsidies in a way that can also help exhibitors and distributors, according to Scotta.<\/p>\n\n\n\n

Other issues on the table in Brussels include stricter content and investment quotas; possibly setting a time limit, or window, on the period that streamers are allowed to contractualize a piece of content for, which would free-up part of the value chain for producers; and ongoing efforts to keep current geo-blocking rules in place, reflecting a territory-by-territory approach to rights\u2019 sales which is at the basis of European co-productions. <\/p>\n\n\n\n

Netflix and Amazon Prime Video declined requests for interviews for this article.<\/p>\n\n\n\n

\u201cThese days more than before, directors and producers in Europe are able to seek a wide range of partnerships; there is much more pan-European cross-pollination,\u201d says Italian producer Simone Gattoni, who shepherded Marco Bellocchio\u2019s mob drama \u201cThe Traitor,\u201d for which he tapped into funding from Germany and France.<\/p>\n\n\n\n

\u201cThis brings great creative and artistic freedom,\u201d he notes. At the same time, structuring deals across Europe is complicated since regulations on things such as theatrical and TV windowing vary from country to country. And now, producers must factor in fallout from the pandemic. One current consequence of coronavirus is that European producers are having trouble finding insurance coverage that will allow them to start shooting again, whereas Netflix productions are covered by an in-house insurance.<\/p>\n\n\n\n

\u201cIn this scenario you have streaming giants who come and say: \u2018Here is the full budget,\u2019\u201d and it\u2019s tempting, says Gattoni, who adds that the rules to level the EU playing field \u201chave to be pan-European because, if not, platforms will privilege countries that give them more advantages.\u201d<\/p>\n\n\n\n

Another Italian producer, Rosario Rinaldo, head of TV production company Cross Prods. (which is owned by Germany\u2019s Beta Film) has a similar take.<\/p>\n\n\n\n

\u201cThe (streaming) platforms are giving us a truly fantastic opportunity,\u201d he says. \u201cMy only worry is that so far I can\u2019t see a business model that gratifies me, that can work for me the same way as the business model I have with [pubcaster] RAI. That is the damn problem!\u201d <\/p>\n\n\n\n

RAI, he explains \u201chas a culture of real productive exchange,\u201d he says, adding, \u201cWe are co-producers. I invest, taking a risk. But I know that in the end I have the possibility of being able to monetize my rights. Rights that I hold on to.\u201d Rinaldo cites the case of his weed-smoking cop show \u201cRocco Schiavone,\u201d which plays on Starz in the U.S. and, \u201cbesides a minimum guarantee brought in a 90% profit margin in international sales.\u201d <\/p>\n\n\n\n

Just like many other European producers, Rinaldo isn\u2019t demonizing the streamers, just trying to find the best way to work with them.<\/p>\n\n\n\n

\u201cIt\u2019s obvious that I can\u2019t apply the same business model to the streamers that I do with RAI, where I hold on to world rights,\u201d he says. \u201cBut I have to find a way, so that my mission as an independent producer \u2014 who must hold on to rights \u2014 has a meaning,\u201d he says.<\/p>\n\n\n\n

Rinaldo also thinks he has the solution. \u201cIt\u2019s simply a matter of redefining windows,\u201d he says. For him that is the key issue. To get global streamers to board a project for which they don\u2019t hold the bulk of rights in perpetuity, so that he and other producers can eventually get some revenues streams from other outlets. The solution is to make windows for the streamers shorter which, he says, \u201ccan be beneficial to both parties.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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