The challenge and opportunity of transatlantic production was the subject of a session at the Zurich Summit this morning, comprising Bert Hamelinck, head of films and global MD at Belgian-U.S. film…
Russian producer Stewart is riding high with latest production
, which this week sold to Neon label Super for the US. The genre film, starring Margaret Qualley and Christopher Abbott, is an example of a US-European collaboration.started out with Rumble Films in the U.S. We came aboard with French sales firm Charades, putting together pre-sales and equity. It was a relatively low-budget and a great festival premiere was essential.
Noting a key difference between Europe and U.S., he added: “I’m still amazed how hard it is to get development money for scripts in the U.S.” Kramer countered: “I don’t think there’s a resistance to it. I think thre’s a resistance to the price point. We have the structure of the studios so writers are giving up an opportunity if they enter long developments because they can earn hundreds of thousands just doing a polish on a studio script.”Perkins commented: “When I was at Studiocanal we had many U.S. partners that came on early. It’s still a market of 330 million people.
Hamelinck concurred: “Creatively, it’s vital to get that U.S. recognition. Look at the foreign language Oscar category. The films are getting better and better. That’s still a bigger platform than anything in Europe. Likewise, a film at Sundance opens many doors. My main motto in putting together these projects is ‘don’t give up, don’t ever give up’. You’ve got to keep going when trying to put these films together.
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