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Even though physical boundaries face restrictions, Asian film professionals are convinced that co-productions can thrive in the region.
“What I see now is the regional cooperation that is taking a position between Southeast Asia and the Asian countries and I hope this will continue. “
He was speaking today at the most recent ScreenDaily Talk (Monday, October 26), sponsored through the FDCP, which tested the restart of film production in Asia by the pandemic, as well as demanding situations and opportunities for co-production and financing for the future. .
“I hope that through partnerships between the countries of the region, we are creating a more powerful market, and here we see the price and opportunity to maximize the public within our region . . . We believe it is because there are so many activities and collaborations that are currently taking place among the performers.
In 2019, the FDCP introduced its incentive program, which provides a 20% monetary discount for foreign production; as well as a foreign co-production fund. Projects already accepted for the latter come with When the Waves are Gone through Lav Diaz and Nocebo through Lorcan Finnegan.
This week, the Asian film and content market in Busan, the FDCP unveiled some other co-production fund, particularly for Asian collaborations, which provides up to $150,000 according to the project and opens to programs in January 2021.
Singapore manufacturer Jeremy Chua of Potocol Films said that as long as governments continue their co-production funding programs, the long term looks promising for co-productions in Asia and beyond.
Chua, whose credits come with A Lullathrough to the Sorrowful Mystery through Lav Diaz and Motel Acacia through Bradley Liew, said: “In Southeast Asia, new cooperation programs have made interregional paintings possible. It is a whole new way for young administrators, who have made short films in combination, to make first feature films in combination. As an independent manufacturer with a budget in the region, this is a very smart time. “
Like the rest of the world, most Asian countries have their filming protocols for government-approved COVID times In some countries, adding Singapore, those restrictions, such as the number of actors who may be on a film set, are alleviated as COVID improves.
Chua is currently running several video projects that have sprung up for the Singapore International Art Festival, after deciding to wait until 2021 to shoot two of his own feature films. “So many independent Singaporean films are now co-productions,” he said. We have teams from Europe or other parts of Asia, so it’s not practical to shoot now because of the restrictions. “
In the Philippines, 295 productions have already signed up for the programme to be more informed about protection measures; The government also provides relief for the crisis. “Many of our productions are looking for the future to begin with,” Dio said. Nocebo’s team plans to begin filming the mystery there in March 2021, according to manufacturers Brunella Cocchiglia and Emily Leo.
Kim Hyo-jeong, a South Korean Film Line maker, said he was told to shoot remotely this year, with a Japanese director running on a television screen shot in Korea. “It took two to three times as long,” he says. for the director to talk remotely with the actors and crew. “However, I am pleased to be informed that communication is important. “
Kim was sure that even with some physical co-productions suspended, now is a “good opportunity to plan and expand new content and scripts, and we are preparing co-production projects. . . We plan new concepts that can be produced”. face-to-face or face-to-face. »
Jacqueline Liu, production director of Hong Kong-based One Cool Film Production, added that production was recovering in Hong Kong itself, as well as in China. “There’s still a lot of production in China. Team members or administrators have to respect the quarantine period, which is 14 days, but because the scale of productions is higher and that means filming longer in China, it’s worth forty. “The Hong Kong government invested more budget in the COVID era to maintain the progression of co-productions.
Complementing the local industry affected through COVID, One Cool introduced a new partnership with Emperor Motion Pictures in May for paintings on a joint list with Hong Kong filmmakers. The aim was to obtain autonomous cinema: “to be offering more opportunities for paintings” – with a first budget of 10 functions. Three of them have already been shot.
As in other parts of the world, insurance is a major fear, and most Asian countries have not brought a production guarantee budget like those in the UK and Germany, among others. “Production insurance is not popular in the Philippines,” he said. Dio. Es only now that we talk about politics and perceive what production insurance means for local productions. Lately the government has been talking about tactics to help manufacturers minimize their risks.
Experts said they still had confidence in the theatrical experience, either now and in the long run, although Liu noted that “the public habit is changing, and in this pandemic period, the maximum audience stayed home to watch platforms or other entertainment from an online content provider. “He added that it was thought that going to the cinema was a fair organization activity for families, not a user sitting with their computer at home. Falling movie theater revenue has been a challenge for a decade or more, but Liu added, “We still hope to have a movie premiere and some plays we deserve to enjoy on the bigger screen. “
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