What is the Creative Europe programme?

The Creative Europe programme would support European cinema and the cultural and creative sectors, enabling them to increase their contribution to jobs and growth. With a proposed budget of €1.8 billion for the period 2014-2020, it would support tens of thousands of artists, cultural professionals and cultural organisations in the performing arts, fine arts, publishing, film, TV, music, interdisciplinary arts, heritage and the video games industry. The goal is also to stimulate operations across Europe,  reach new audiences and develop the skills that are needed in the digital age. In this way, the new programme will also contribute to safeguarding and promoting Europe’s cultural and linguistic diversity.

Why does Europe need a Creative Europe programme?

Culture plays a major economic role in the 27 countries. The cultural and creative industries account for around 4.5% of EU GDP and 3.8% of employment (8.5 million jobs and many more if account is taken of spill-over into other sectors). Between 2000 and 2007, employment in these sectors grew by an average of 3.5% a year, compared to 1% in the overall EU-27 economy. Europe is by far the world leader for exports of creative industry products. So the goal is to retain this position.

Creative Europe takes account of the challenges created by globalisation, in particular the impact of digital technologies, which are changing how cultural works are made, distributed, and accessed, as well as transforming revenue streams and business models. But these developments also create opportunities for the European cultural and creative industries and the programme seeks to help them seize these opportunities, so that they benefit from the digital shift and create more international careers and employment opportunities.

The move inevitably raises many questions, which the European Commission addressed in a recent press announcement.

Why is the Commission proposing to merge the existing Culture, MEDIA and MEDIA Mundus programmes into a single programme?

These sectors face similar challenges, including market fragmentation resulting from cultural and linguistic diversity, globalisation and the digital shift, as well as severe difficulties in accessing commercial lending. They also have similar needs in terms of safeguarding and promoting cultural and linguistic diversity, and strengthening their competitiveness in order to contribute to jobs and growth.

However the Commission recognises that the structure of these sectors is also diverse. That’s why it is proposing a single framework programme, but with separate strands to provide appropriate support.

How will Creative Europe differ from the current MEDIA and Culture programmes?

The Creative Europe programme will combine the current separate support mechanisms for the culture and audiovisual sectors in Europe in a ‘one-stop shop’ open to all the cultural and creative industries. However, it will continue to address the particular needs of the audiovisual industry and the other cultural and creative sectors through its specific Culture and MEDIA strands. These will build on the success of the current Culture and MEDIA programmes.

In addition, it will create a new financial guarantee facility which will enable small operators to access up to €1 billion in bank loans.

What will the programme achieve?

The Commission estimates that, in 2014-2020, at least 8,000 cultural organisations and 300 000 artists, cultural professionals and their works would receive support to cross borders and acquire the experience which will help them to develop international careers. The programme will also support the translation of more than 5,500 books and other literary works.

The MEDIA strand will support the worldwide distribution of more than 1,000 European films, via traditional and digital platforms; it will also provide funding for audiovisual professionals to help them access and successfully work in international markets, and will foster the development of films and other audiovisual works with a potential for cross-border circulation.

There is a lot to build on: thanks in part to MEDIA support, the proportion of European films among all newly released films in European cinemas grew from 36% in 1989 to 54% in 2009. The Europa Cinemas network, comprising over 2,000 screens in mostly independent cinemas, helps to ensure a broad and diverse mix of films for audiences in 475 cities. Their films attracted 59 million admissions in 2009 compared to 30 million in 2000.

What challenges is the programme tackling?

The cultural and creative industries do not currently make the most of the Single Market. One of the difficulties the sector faces is language: the European Union has 23 official languages, 3 alphabets and approximately 60 officially recognised regional and minority languages. This diversity is part of Europe’s rich tapestry but it hinders efforts by authors to reach readers in other countries, for cinema or theatre goers to see foreign works, and for musicians to reach new listeners. A Eurobarometer survey (2007) has shown that only a minority of Europeans watch foreign language TV or films and only 7% read foreign language books.

A stronger focus on support for audience building and on the sectors’ capacity to interact with audiences more directly, for example through media literacy initiatives or new interactive online tools, has the potential to open up many more non-national works to the public. The Commission estimates that well over 100 million people will be reached directly or indirectly through the projects supported by Creative Europe.

Are individuals eligible to apply for funding?

Creative Europe will not be open to applications from individuals. But around 300 000 individual artists and cultural professionals, as well as training institutions, will be reached through the projects submitted by cultural organisations. This is a much more cost-effective way to achieve results and a lasting impact.

Which countries are eligible to apply for funding?

Creative Europe will be open to Member States, as well as the European Free Trade Association (EFTA) countries (Iceland, Liechtenstein, Norway and Switzerland), EU accession and candidate countries, potential candidates and neighbourhood countries. Other countries may be involved in specific actions. Currently, EU Member States, the EFTA countries, Croatia, Turkey, Former Yugoslav Republic of Macedonia, Serbia, Montenegro and Bosnia-Herzegovina are participating in the Culture Programme.

EU Member States, Croatia, Iceland, Liechtenstein, Norway and Switzerland participate in the MEDIA Programme.

What would happen to MEDIA Mundus?

MEDIA Mundus, the existing programme which supports cooperation between European and international professionals and the international distribution of European films, will be integrated into the MEDIA strand of Creative Europe.

Creative Europe still needs the approval of the Council of Europe and European Parliament. Can you see any implications for your work and relations with international production partners? Let us know in the forum below.

Calculating the return on investment of a trip to Cannes is not easy. Rather than look at that, I’d like to ask a few questions that can help those that have decided to attend a trade fair in Cannes, notably how do you get the most from your visit?

Plan for success

At the risk of stating the obvious, the “secret” of success is to plan. But plan for what? And how? This very much depends on what brings you to Cannes and how you define success. Take a second to think of the one big reason you have to attend either Midem or the Film Market (the other events work along similar lines). Let’s say you have a new product you think you can license worldwide. If you are reading this, you are probably a relative newcomer, so what are your realistic expectations?

Nearly everyone you might want to reach will be there. So how do you reach them? How do you then approach them? With what, and with what expectations?

You should know that very few deals are done directly at Midem or the Film Market. Although you are entitled to try, it is far more likely that what you are getting at Cannes is two very simple but precious things: access to interesting people and – hopefully – the permission to keep in contact with them afterwards. That’s it.

Wait, what about my sales figures? I’m not going to Cannes to waltz around the Croisette! Nope, you are going to build partnerships, to find the perfect fit for your product or service in a few if not dozens of territories. You are going to find people that need you in some way. This is not to say you won’t sell stuff – the trade fairs would crumble overnight if that was the case, and some companies report 75% of their annual sales are a direct result of contacts made at the fairs – but you have to focus on connecting with people first.

 

Midem, TFWA and MAPIC offer great networking opportunities

How do I meet the right people in Cannes?

Don’t wait for Cannes to come around to meet the right people. Start as soon as possible. I strongly advise getting one of the early bird event rates for two reasons: you save money (sometimes enough to cover a cheap hotel); and you have a head start in mining the database. Again, with your new product, you go looking for licensors. First, pick off the big names in territories you know. That part is easy (although getting a reply from them is more difficult). Then comes the time-consuming but fun part: investigating the hundreds of smaller players in each region. This could well be where your business comes from.

Why? Because these people are usually more open to deals. There are far more of them. They are less courted and might have more time for you. Check their profiles completely. Visit their website. Check every angle of their work. What other activities are they involved in? Google/Bing/EntireWeb them. Have they sent out press releases recently? What does that tell you about them? Is there  something else you can suggest them? Think wide.

Offer more to stay in the game

Although some companies can afford to attend Cannes with one hot product, I strongly advise against it. There is  nothing more gutting than to realise after the first three meetings that your product is totally dead in the water for whatever reason and you have three more days of spending money to look forward to. If you’ve done your homework, you’ll know the people you are meeting are also active in character licensing, physical distribution, packaging, music supervision or whatever. Move the subject in that direction and hit them with the back-up plan. Rep someone else, if necessary. Mention your next upcoming project (if it is notably different from the one you did not impress them with right now). It could pay for the trip and more.

And when all else fails…

Never let yourself feel down when all else fails – there’s time enough for that in the plane going home. Analyse what people are telling you. Look for new angles. How could your idea be re-packaged? And in your time off, attend the conferences, they are a source of great ideas and also offer great networking opportunities. Read the dailies and determine to try and meet at least one company mentioned in them per day (I have a trick for that, more of which later).

And lastly, I strongly recommend doing what only about 15% of people do properly: follow up every contact 10 days later and see who is still open to some sort of business situation. Remember also that your Cannes event is usually about five days. The database, however, is open for 12 months. Armed with your new knowledge, you can develop products that fit what you learnt and can then go find exactly the right person to contact in each territory. The fact that you did not make a sale this time does not mean you never will – on the contrary. A slap in the face is often  a great stimulus for business. You are now armed with greater insights and access to the people that can make them work.

I’d really love to get some debate going. So feel free to make comments ask questions (below). I deal with specific aspects of travelling to Cannes on the rest of the site. Keep up to date using the RSS feed, follow me on Twitter or why not get Cannes news straight to your mailbox. I cover Cannes, music and movie biz news.

Michael Leahy

The seminar will kick off with a special iPad showcase session during which a range of new apps will be presented, from brand-dedicated apps to those targeting children. Daniel Efergan, Creative Director of Aardman Digital, part of Aardman Animations, and Patrice Slupowski, VP Digital Innovation and Communities at Orange, will speak on the subject, while a broadcaster’s point of view will be delivered by Jen Topping, New Media Commissioning Manager for Channel 4.

This will be followed by a series of case studies: Anna Rafferty, MD of Digital Publishing at Penguin Books, will explain how a leading book publisher is adopting mobile applications and is adapting to multimedia ePublishing; Shaun Barriball, Founder and CEO of Mobile IQ, will talk about being an App creator; Dan Witters, UK Managing Director of Kiwa Media, will describe the new licensing deals; and Cedric Thomas from the Ovi by Nokia App store will speak for online App sellers.

The seminar will be chaired by Ferhan Cook, Publisher of MobiADNews and President of Any Screen Productions Ltd.

“Convergence is finally here. The new tablet devices and the App stores complete the full circle on rich media publishing, with a clear business model for content. A brand new ‘connected publishing’ industry is being born,” explains Ferhan Cook. “We are in the midst of a new publishing revolution which is impacting the entire spectrum of the entertainment industry,” adds Laurine Garaude, Director of MIPCOM.

The Cannes or Bust twitter account, which features news, tips and deals about MIPCOM, MIPTV and MIDEM, is featured on a number of applications. Of most interest to to visitors to Cannes is the iRiveria application.

But the service also opens up many questions. This is the sort of approach that Philips would have pursued in previous times, and there are already several services that provide web connectivity (the PS3 immediately springs to mind). But how will a TV set integrate web images, such as buttons and text? What will happen if a family – or a whole neighbourhood – has everyone on the web at the same time and also watching movies? Will bandwidth support this? Several VOD providers already had problems with this as they don’t control the whole distribution chain. Will the major broadcasters such as BBC that are already working on variations of the theme be willing to play ball?

Just like with music, some pundits are already hailing the arrival of a open market for consumers’ eyeballs. Who cares if you don’t get airtime on a channel when you can go direct to the viewer via Google TV? If I was a producer, I would definitely care. Broadcasters pay rights and commission programming. What will happen in thes new environment?

The experience of music

The experience of the music industry is that in an open environment like this, the only ones that can afford to fund major productions are the companies that are already sitting on top of the pile. The idea of producers being able to reach out and monetise their creations to millions of people worldwide is, frankly, a pipedream. The cost of producing a “Mad Men” leaves little room for improvisation with your business plan. The music industry has seen a concentration of producers at the top (often associated with TV show, incidentally) and a dramatic thinning out of the all-important mid-sized companies.

The prospect of web TV is an interesting one. But until a new financing model is developed, it could ultimately spell bad news for independent producers in the mid term.

This is the theme developed by The Write Stuff & Consorcom, who have worked on 6 MIDEM campaigns, as well as several for MIPTV and MIPCOM over the years. The company has also worked for EAS in Amsterdam as well as developing the names for Amazia in Hong Kong and MIPIM Horizons. A little disclosure is in order as the same company runs Cannes or Bust!

To see more of their work, visit The Write Stuff.

So why get the news straight to your inbox as well ? Because Twitter is the instant media. Instantly there and gone just as fast. You miss things. You might want to get news about the apartments where you set the price (real offer). Or flash ticket sales from airlines. Or the apartment rental company that offered a free pass for every five people (real offer). Or last-minute hotel deals for Midem, MIPIM, MIPCOM or the festival. We don’t sell your address and you can opt-out at any time. The downside? There isn’t one! Sign up below.

]]> http://cannes-or-bust.com/2009/12/cannes-news-and-tips-to-your-desk/feed/ 1 http://cannes-or-bust.com/2007/02/al-jazeera-chief-to-talk-at-mipdoc/ http://cannes-or-bust.com/2007/02/al-jazeera-chief-to-talk-at-mipdoc/#comments Fri, 23 Feb 2007 13:09:40 +0000 Cannes or Bust http://african-rap.com/wordpress/?p=413
To celebrate its 10th anniversary, the MIPDOC fair (April 14-15) will feature a keynote speech from Al Jazeera’s director general, Wadah Khanfar. He will be talking about their decision to launch a documentary channel covering current affairs, social issues, culture, art and religion. This follows the launch of the English version of their news channel.

Other highlights of MIPDOC this year will be a showcase of recent Italian production and conferences covering online distribution, a pitching session and the International Trailblazers.