{"id":174,"date":"2026-05-18T18:37:57","date_gmt":"2026-05-18T18:37:57","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=174"},"modified":"2026-05-18T18:37:57","modified_gmt":"2026-05-18T18:37:57","slug":"as-international-co-productions-soar-its-crucial-to-make-a-film-instead-of-filming-a-deal-producers-argue-at-polish-film-institute-panel-at-cannes","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=174","title":{"rendered":"As International Co-Productions Soar, It\u2019s Crucial to \u2018Make a Film Instead of Filming a Deal,\u2019 Producers Argue at Polish Film Institute Panel at Cannes"},"content":{"rendered":"
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\n\tInternational co-productions are improving, argued \u201cFatherland\u201d producer Ewa Puszczy\u0144ska of Extreme Films at Cannes.<\/p>\n

Read more Julie Bowen, Ty Burrell Find Advertisers Crave a \u2018Modern Family\u2019 Approach to Commercials<\/a><\/p>\n

\n\t\u201cI don\u2019t think we make the so-called \u2018Euro pudding\u2019 anymore. It has to be a project that everyone loves, and there has to be an artistic reason for making it together,\u201d she said.<\/p>\n

\n\t\u201cMoney is one thing, but there\u2019s always a producer who started the project and is responsible for the artistic vision. In moments of dispute, this person has the final say. I think that \u2013 and I hope \u2013 that we are becoming increasingly clever in production, and I\u2019m really happy when I see how good young producers are.\u201d<\/p>\n

\n\tSpeaking during a \u201cHow to Develop Stories with Co-Production Potential\u201d panel, presented by the Polish Film Institute, David Collins (Samson Films) said: \u201cWhen you\u2019re new to film production, you\u2019ll often get excited by the possibility of getting a little bit of money here and there, but there\u2019s a risk that, instead of making a film, you will be filming a deal.\u201d<\/p>\n

\n\tHe added: \u201cYou can lose the vision of the film in your search for financing, and then, well, it\u2019s a \u2018pudding\u2019. You\u2019ve lost the soul of the film, or maybe you never knew what that soul was and that reflects on you as a producer. It\u2019s easy to be seduced by the possibility of money in other countries, but sometimes it can hurt the project on a creative basis.\u201d<\/p>\n

\n\tStill, co-production and international cooperation are what \u201cdefine us as Europeans,\u201d noted Tina Trapp, CEO of EAVE.\u00a0<\/p>\n

\n\t\u201cIt\u2019s important culturally and economically. There\u2019ve been many studies by the European Audiovisual Observatory, and co-productions have around three times the number of admissions of national films,\u201d she said. \u201cWe\u2019re all here for the love for film and culture, but it\u2019s also an economic driver. According to one study, the film industry employs and creates ten times more jobs than the car industry. Even films that perform well at the big box office generate revenue for the countries, and co-production maximizes that.\u201d\u00a0<\/p>\n

\n\tNetworks are crucial when looking for new collaborators.<\/p>\n

\n\t\u201cIt\u2019s important to find someone you trust to work with, and that\u2019s difficult if you only have a five-minute meeting at a market. At EAVE, we create a safe space and bring together a carefully curated group of producers to collaborate. We are proud that actually 75% of people who have met at EAVE end up working together.\u201d<\/p>\n

\n\tProducer David Bohun (Panama Films) has also benefitted from this, he admitted: \u201cThat\u2019s where we really start building our international collaborations, and they\u2019re essential for us when working in a new territory. It\u2019s about having the same vision and enthusiasm for the project, and sharing the same values of cooperation. We are lucky there are so many programs out there, and we need to keep them alive and ensure their budgets are not cut. For us, for emerging production companies, they are the most important asset.\u201d<\/p>\n

\n\tReflecting on their experiences, the panelists were adamant. You have to always ask yourself: Why am I making this?<\/p>\n

\n\t\u201cOr: \u2018Am I the best person to make this?\u2019 There\u2019s a phrase from a poem by Yeats: \u2018In dreams begin responsibilities.\u2019 As a producer, I take responsibility for somebody else\u2019s dream,\u201d noted Collins.<\/p>\n

\n\tSometimes, that translates to a bit of tough love.\u00a0<\/p>\n

\n\t\u201cIt\u2019s my job to challenge that person and, if I\u2019m the lead producer, find a way of articulating their vision to my co-producer. The most important thing is to find a co-producer who shares your vision, and to allow them to join the adventure on their own terms. I love finance plans \u2013 I should be in therapy \u2013 and I\u2019m good at playing three-dimensional Monopoly with other people\u2019s money. But that\u2019s not as important as sharing a vision.\u201d<\/p>\n

\n\tThese days, more and more often, producers end up collaborating with new territories. But the rules stay the same.<\/p>\n

Read more \u2018Fjord\u2019 Review: The Family That Prays Together is Torn Asunder in Cristian Mungiu\u2019s Brilliantly Knotted Social Drama, Led by Sebastian Stan and Renate Reinsve<\/a><\/p>\n

\n\t\u201cWe contributed a composer and a designer to it, but the fundamental thing was that this was a film that needed to be made. Everybody wanted to support it. You can only do that with a project that you feel you can contribute to. In this case, it was a certain chess move that no one else was able to make at that moment,\u201d said Collins, recalling making the Canadian-Irish co-production filmed in Egypt.\u00a0<\/p>\n

\n\t\u201cEveryone\u2019s talking about trust and transparency, but sometimes things can go wrong. We had a Swiss-Irish-Austrian co-production shooting in Ireland, Nepal, Vienna, and Switzerland. When we were trying to move everyone to Nepal, the war happened, and we had to find a way to get everyone out of there. I had a conversation with a private jet leasing company, and it cost $450,000 to get our crew over to Kathmandu. Because it was war, we weren\u2019t covered by insurance. As a producer, taking responsibility is important, but it\u2019s also a test of character. It\u2019s only when the chips are down that you really find out who you\u2019re dealing with.\u201d<\/p>\n

\n\tInternational collab can feel like a marriage.\u00a0<\/p>\n

\n\t\u201cIt is [like marriage] because you\u2019re responsible for a certain amount of budget, and you have to ensure your partner is also responsible. And keeps their promises!,\u201d said Bohun, with Julian Haisch (Lemming Films) adding:\u00a0\u201cYou can\u2019t be too close. I think transparency is really the keyword here. If you detect a problem or a potential conflict, you need to speak up early on. We are always saying: If we can\u2019t have a fun dinner with our potential co-producers, we probably shouldn\u2019t work on the project together.\u201d<\/p>\n

\n\tHe said, \u201cI work for a company with a large network. We can always fall back on it, but we still go to all the markets and read everything we can. You have to make sure you share the same values.\u201d<\/p>\n

\n\tHaisch also opened up about the making of Brazil\u2019s award-nominated hit \u201cThe Secret Agent.\u201d<\/p>\n

\n\t\u201cThe task was to make post-production work within three European countries, also knowing that some of the key positions were still Brazilian. We had very little butter to spread on that piece of toast, so to speak. We had long Zoom calls with the German and the French co-producers, where we just juggled ideas around. You can be very creative if you read the regulations a couple of times.\u201d<\/p>\n

\n\t\u201cEverybody should see that producers can be creative as well. There\u2019s great creativity in how we structure the projects and make them happen. We are creators,\u201d Puszczy\u0144ska summed up, drawing applause from the audience. \u201cWe have our own histories and cultures, and combining them makes us stronger. Sometimes we forget that film can influence not only how we see each other but also how the rest of the world sees us as Europeans.\u201d<\/p>\n

\n\tPuszczy\u0144ska recommended starting collaborations early on. \u201cWe shouldn\u2019t contact each other only when we need money or when we have a gap in financing. We should be looking for partners as early as possible, even at the development stage. Then, we can go through the process together and gain additional value from other people\u2019s points of view. That has always been my experience.<\/p>\n

\n\t\u201cWe cry together, shout together and make phone calls together. We fight for every single penny, but there\u2019s trust and strength. That\u2019s what we should be looking for.\u201d<\/p>\n

\n\tDespite new initiatives to work towards a better industry and protect producers\u2019 mental health \u2013 \u201cIf they break down, the whole process will fall apart,\u201d said Trapp \u2013 Puszczy\u0144ska had some advice for young producers.\u00a0<\/p>\n

\n\t\u201cIn difficult times, always tell yourself: \u2018I\u2019m not saving anybody\u2019s life.\u2019 It\u2019s not the ER, so there\u2019s always a solution if you sit down and think. Don\u2019t have nervous breakdowns.\u201d<\/p>\n

Read more Spotify, After Massive User Backlash Over Disco-Ball Icon, Says Regular Logo Will Return Next Week<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Producers including ‘Fatherland’s’ Ewa Puszczy\u0144ska talk responsibilities and international collaborations at Polish Film Institute panel at Cannes<\/p>\n","protected":false},"author":1,"featured_media":173,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[43],"tags":[3,209,210],"class_list":["post-174","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biz","tag-cannes-film-festival","tag-polish-film-institute","tag-polish-film-partner"],"yoast_head":"\nAs International Co-Productions Soar, It\u2019s Crucial to \u2018Make a Film Instead of Filming a Deal,\u2019 Producers Argue at Polish Film Institute Panel at Cannes - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=174\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"As International Co-Productions Soar, It\u2019s Crucial to \u2018Make a Film Instead of Filming a Deal,\u2019 Producers Argue at Polish Film Institute Panel at Cannes - 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