对于希腊纪录片制片人，经过多年的危机，机会出现
For Greek Documentary Filmmakers, Opportunities Emerge After Years of Crisis
对于充当希腊纪录片行业的首要展示柜的活动，塞萨洛尼基纪录片节再次为当地纪录片提供了第24届当地纪录片的主要平台，并在整个节日的各种竞赛中进行了77张长度和短篇小说的希腊纪录片筛选竞争性部分。代表希腊纪录片制片人的利益的贸易小组的联合创始人玛丽·加斯汀（Marco Gastine）见证了该行业的稳定发展，因为该协会成立于2013年。当时希腊的电影政策]。“它在希腊电影中心和[公共广播员] ERT的公共计划中的人数不足。”实际上，PubCaster从2013年到2015年，作为紧缩政府政府的成本削减措施的一部分，将纪录片陷入危机。几年以来，部分要归功于该协会在GFC和国家视听媒体与传播中心（Ekome）等公共机构制定电影政策的努力，政府机构负责管理希腊的激励计划。据加斯汀说，纪录片制片人可以访问该中心的资金计划。 Hellas Doc还游说Ekome修改了现金折扣，这几乎无法访问纪录片制片人，他们很少设法达到当地的最低支出100,000欧元（110,000美元）（$ 110,000）。 60,000（66,000美元），”加斯汀说。 “因此，这意味着该国的严重纪录片生产可以访问该计划。这三本希腊纪录片在今年的塞萨洛尼基纪录片节上出现在国际竞赛中：“女性”（如图所示），这是一部纪录片和DI，这是一部希腊纪录片。Nina Maria Paschalidou裁定，关于近年来意大利震撼的残酷攻击和雌性的浪潮；首次电影制片人乔戈斯·穆塔菲斯（Giorgos Moutafis）的“另一半”，该镜头在2009年至2021年之间由经验丰富的摄影记者拍摄，正如他在地中海难民危机上报道的那样。和Panayiotis Evangelidis撰写的“ Tilos婚礼”，讲述了在希腊演出的前两个同性恋和女同性恋民事婚礼的故事。Varariety与Gastine谈到了有关希腊纪录片制片人的景观，以及在希腊的纪录片制片人的景观，以及抬高升级的景观。该行业。希腊纪录片制片人的资金主要来源是什么？有机构金融家，希腊电影中心和Ekome。当然，重要的球员是国家广播公司ERT。还有另一个纪录片《 Cosmote TV》的窗口，该窗口正在共同制作，并且对纪录片非常感兴趣。但是它们仅限于历史或文化纪录片。我不可能与他们一起制作社交内容的纪录片。要帮助当地文档社区的更多需要做什么？我们有一个梦想，就像在法国或意大利拥有的那样，在当地的融资中，这些地区是大型球员生产融资。这就是[在希腊]的问题，没有多少球员。在法国，如果您没有得到[国家电影中心]，则可以获取频道。如果您没有获得此频道，则有数十个频道可以去。在希腊，您没有这个机会。这是一个较小的国家，但是您拥有像丹麦（Denmark）这样的小国（这是希腊人口的一半），它具有令人难以置信的融资系统。我希望拥有更多的参与者，因此我们可以建立预算。我们在1970年代不再有国家的一切。而且我对此并不怀旧。但是您需要在开放的经济中，您需要有球员。他们在希腊太限制了。拥有RE会很有趣吉斯和市政当局[更活跃]。没有文化频道，只有私人电视。他们遵循市场的逻辑。没有PBS或Arte。国家广播公司应该有一个频道，但尚无。本周在塞萨洛尼基纪录片节上放映的电影中的一部电影是妮娜·玛丽亚·帕斯切利杜（Nina Maria Paschalidou）的“女性”。这是希腊 - 意大利的共同制作，与广播公司Al Jazeera和Sky Italia登上了船，并获得了意大利电影基金和威尼托基金会的支持。我认为这说明了您谈论的所有这些不同的机制如何 - 制片人，私人广播公司，区域机构 - 可以融合电影。您是否认为我们将来会看到更多此类类型的合作？当我开始业务时，没有纪录片制作人 - 这就是为什么我成为制作人。制片人更专注于故事片，电视连续剧和广告。在过去的15年中，事情正在发生变化。已经创建了许多小公司，有些是致力于纪录片的。有很多计划有助于建立技能，例如塞萨洛尼基（Thessaloniki）等研讨会和节日。所有这些事情都可以帮助新一代生产者出生。您认为在当地和地区机构中有什么支持？在机构层面上，这很重要。对我们来说，一个很好的例子是，如果我们看北欧国家，就居民而言，这是小国。我认为只有瑞典像希腊这样的人口超过1000万。其他人比希腊小，但是他们有用于电影制作和资金的计划，这些计划比这里更加发达。他们的电影中心经常有电影学校。他们与当地广播公司有着非常紧密的联系。然后，如果您从FI那里得到钱，例如Nland，您几乎会自动从瑞典和丹麦和挪威获得。因此他们可以这样建立预算。我们在欧洲东南部没有类似的机制，例如土耳其，保加利亚，希腊，塞浦路斯，塞尔维亚，这些国家是具有共同历史的国家。赋予这些趋势和挑战，您对您对未来的乐观程度希腊纪录片业？我认为我很乐观。我几乎每年都会来[塞萨洛尼基]。即使是五年前，我也无法想象我会看到希腊语联合制作（肖恩·王（Sean Wang）的“大理石旅行”）。希腊纪录片的水平正在上升。这是一个漫长的过程，但是在那些实验室或节日中，我们建立了共同制作的基础。例如，在2021年的地中海电影学院的DOC实验室（加斯汀（Gastine）是一名导师）中，我们进行了一个美丽的希腊项目。我在这里找到了制片人，他接了一个德国项目。我们建立这样的连接。我们是L艾克（Ike）在村里[婚介]的老妇人。塞萨洛尼基纪录片节对我们来说非常重要。它建立了观众，但也建立了一个职业。
For an event that functions as the premier showcase for the Greek documentary industry, the Thessaloniki Documentary Festival again offered a prime platform for local docmakers at its 24th edition, with 77 feature-length and short Greek documentaries screening across the festival’s various competition and non-competitive sections.
Marco Gastine, a co-founder of the Hellas Doc Association, a trade group representing the interests of Greek documentary filmmakers, has witnessed the industry’s steady evolution since the association was founded in 2013.
“There was nothing specific about documentaries [in Greece’s film policy at the time],” Gastine told Variety in Thessaloniki. “It was underrepresented in the public programs at the Greek Film Center and [public broadcaster] ERT.” The pubcaster was in fact shuttered from 2013 to 2015, as part of cost-cutting measures by an austerity-minded government, plunging the documentary industry into crisis.
Much has changed in the years since, partly thanks to the association's efforts to shape film policy at public institutions like the GFC and the National Center of Audiovisual Media and Communication (EKOME), the government body tasked with administering Greece's incentive scheme.
The GFC's current regulations ensure that all of the center's funding programs are accessible to documentary filmmakers, according to Gastine. Hellas Doc also lobbied EKOME to revise a cash rebate that was all but inaccessible to documentary filmmakers, who rarely managed to reach the local minimum spend threshold of €100,000 ($110,000).
“We succeeded to get them to listen, and they made it €60,000 ($66,000),” said Gastine. “So that means serious documentary production in this country can have access to this program. It makes it much easier to fund documentaries.”
Three Greek documentaries appeared in this year’s international competition at the Thessaloniki Documentary Festival: “Femicidio” (pictured), a documentary written and directed by Nina Maria Paschalidou, about the wave of brutal attacks and femicides that in recent years have rocked Italy; “The Other Half,” by first-time filmmaker Giorgos Moutafis, which compiles footage taken by the veteran photojournalist between 2009 and 2021 as he reported on the Mediterranean’s refugee crisis; and “Tilos Weddings,” by Panayiotis Evangelidis, which tells the story of the first two gay and lesbian civil weddings ever performed in Greece.
Variety spoke to Gastine about the landscape for documentary filmmakers in Greece, and what more needs to be done to elevate the industry.
What are the key sources of funding for Greek documentary filmmakers?
There’s the institutional financiers, the Greek Film Center and EKOME. Of course, an important player is ERT, the national broadcaster. There is also another window for documentaries, Cosmote TV, which is co-producing a bit and are very interested in documentaries. But they are limited to historical or cultural documentaries. It is impossible to make a documentary with them with social content.
What more needs to be done to help the local doc community?
We have this dream to have local financing, like they have in France or Italy, where the regions are big players in production financing. That’s the problem [in Greece], there are not many players. In France, if you don’t get the [National Center for Cinema], you can get a channel. If you don’t get this channel, there are dozens of channels where you can go. In Greece, you don’t have this opportunity. It’s a smaller country, but you have small countries like Denmark – which is half the population of Greece – which has an incredible system of financing.
I would love to have more players, so we can build our budgets. We are not anymore in the 1970s, with everything from the state. And I’m not nostalgic for that. But you need to be in an open economy, you need to have players. They are too limited in Greece. It would be interesting to have the regions and the municipalities [more active]. There are no cultural channels, just private TV. They follow the logic of the market. There is no PBS or ARTE. The national broadcaster should have a channel for that, but there is not yet.
One of the films that screened in the international competition this week at the Thessaloniki Documentary Festival was “Femicidio,” by Nina Maria Paschalidou. It’s a Greek-Italian co-production with broadcasters Al Jazeera and Sky Italia on board that also received support from the Italian Film Fund and Veneto Fund. I think it illustrates how all these different mechanisms you talk about – producers, private broadcasters, regional institutions – can come together to finance a film. Do you think we'll be seeing more of these types of collaborations in Greece in the future?
Greek producers are getting skills for that, because it takes skills to make a co-production. When I started in the business, there were no producers for documentary – that’s why I became a producer. The producers were more focused on feature films and TV series and advertising. The last 15 years, something is changing. A lot of small companies have been created, and some are dedicated to documentaries. There are a lot of programs helping to build skills, such as workshops and festivals like Thessaloniki. All those things help a new generation of producers to be born.
What sort of support do you think is necessary from local and regional institutions?
At the institutional level, it’s important. A good example for us is if we look at the Nordic countries, which are small countries in terms of inhabitants. I think only Sweden has a population like Greece, which is more than 10 million. The others are smaller than Greece, but they have programs for filmmaking and funding that are much more developed than here. They have film centers which often have a film school. They have a very close connection to the local broadcasters. And then, if you get money, for example, from Finland, you will get almost automatically from Sweden and Denmark and Norway. So they can build their budgets like that. We don’t have mechanisms like that here in the southeast of Europe – like in Turkey, Bulgaria, Greece, Cyprus, Serbia, which are countries that have a common history.
Given these trends and challenges, how optimistic are you for the future of the Greek documentary film industry?
I think I’m quite optimistic. I’m coming [to Thessaloniki] almost every year. It would be impossible to imagine – even five years ago – that I would see a Greek-Chinese co-production (Sean Wang’s “A Marble Travelogue”). The level of Greek documentary is rising. It’s a long process, but in those kinds of labs or in festivals, we build the base of co-productions. For example, in the doc lab of the Mediterranean Film Institute in 2021 [where Gastine is a tutor], we had a beautiful Greek project. I found the producer here, and he picked up a German project. We build connections like that. We are like the old women who are [matchmaking] in the village. And the Thessaloniki Documentary Festival is very important for us. It built an audience, but it also built a profession.
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发表于 2022-7-5 01:39:52
发表于 2022-11-9 04:10:21