VINCENT MARAVAL, CO-CHIEF, WILD BUNCH
Which co-production markets do you attend'
We go to CineMart to find co-producers for our own projects and to co-produce some other projects. We did The Magdalene Sisters, Carnages and some others that way. We use Pusan in the same way. It has the best knowledge of the Asian projects. We also go to L'Atelier in Cannes, which is becoming something important.
Which are the best organised'
Pusan. It's very convenient. It's a bit like CineMart. The catalogue is very well done. You know exactly what they need. You can have the scripts beforehand. You meet the producers and directors and have time to share with them the vision of the film.
What would you like to see change in co-production markets'
There's no real market for big-budget films. And the problem with Rotterdam is that it doesn't promote itself enough. You always find the same people there. For example, (French production outfit) Fidelite recently had an Afghan project. It came to me to ask for a lot of money. I told it that was not the way it should finance the film and that it would never find a company putting a big minimum guarantee on a first-time Afghan director. I told it there are facilities such as Rotterdam where it could find partners and co-producers at the level it was looking for. Fidelite didn't know Rotterdam at all.
CHRISTIAN BAUTE, CELLULOID DREAMS PRODUCTIONS
Which co-production markets do you find useful'
CineMart is the best organised but the size of films and the selection is more and more away from the realities of the marketplace, which is moving towards bigger budget films. We use it to track projects and to follow up from time to time. The most important thing for us is to identify new talent - not just directors but producers too. We like to see how they work, how they envisage their project and their jobs.
What have you acquired through such markets'
Just one recently, which was El Otro in Berlin. Otherwise we track but don't pick up. We know that if we pick it up immediately there's still two years ahead (until the project is completed) and we have no idea how the market is changing. As our core business is sales, we have to wait to see how the market evolves.
PHILIPPE BOBER, CO-PRODUCTION OFFICE
Which co-production markets work for you'
I've been attending CineMart since the first edition. It's a very good way to launch a project. Rotterdam has been talented at attracting the core independent business. Other festivals and markets can be so big that you don't find the people any more.
Where else do you go'
In Pusan you can see people you would not in Cannes or Berlin or who do not go to Rotterdam. I had the idea for CineLink in Sarajevo. There was an industry completely destroyed (by war). Sarajevo is a place where people from the former Yugoslavia met. It was an area with a rich industry and history - and it was good to recreate the link.
JULIE BAINES, UK PRODUCER, DAN FILMS
How useful are co-production markets'
It depends on the type of projects you are trying to raise money on. I went to CineMart for the first time this year and I didn't see anything that was overtly commercial. Last week, I went to the Netherlands Film Platform as I had a specific project, Kenny Glenaan's Kickback, that was going to shoot substantially in Holland.
How do they attract delegates'
They lure you by paying for you! They pay your expenses or at least your accommodation. If you've got a relevant project or are keen to meet some future co-producers from a territory, it can help.
ED FLETCHER, MANAGING DIRECTOR, UK DISTRIBUTOR SODA PICTURES
Do you attend any co-production markets'
For a company like ours, Rotterdam is a good place to hear about new projects. But if you're going to go to a co-production meeting, you have to be interested in co-production. For distributors, unless you've actively got an acquisition pot for that kind of high-risk project, you won't go.
Are co-production markets useful for distributors'
I don't think many distributors who are not involved in co-production go to these co-production markets. There are processes that distributors need films to go through, which are getting financed, made and selected into a major festival. Distributors don't need another layer of markets to attend.