Film and TV Technician (1957)

April 1957 FILM & TV TECHNICIAN 57 agreement on a 50/50 basis. 3. Production costs are shared on either a 50/50 or a 60/1,0 or a 70/30 ba^is, the proportion to be reversed in Picture 'B'. The French Producer retains the whole of the French-speaking territories, the Italian the whole of the Italian-speaking territories; the rest of the world is divided on the basis of each producer's financial contribution. 4. In both pictures, one of the two stars is French, the other Italian. 5. BOTH PICTURES ARE QUOTA IN BOTH COUNTRIES and are eligible for whatever production fund benefits (Eady money, VAide du Cinema, etc.) exist in the respective countries. France has co-production agreements with Italy, Germany, Austria, Spain, Mexico, Argentina and Japan. The average production cost of a purely French top feature is estimated at about £80,000, whereas the average production cost of a co-production top feature works out at about £182,000. It is evident, therefore, that most of these co-productions could never have been made but for the interEuropean agreements. It is equally clear that these coproductions did not only not cut down on domestic production but were in fact instrumental in increasing production, and thereby employment in the industries of the countries concerned. In this connection (a point of particular interest to all A.C.T.T. members) it is necessary to have a look at production figures in France over the last five years when co-productions began to get into their stride, and compare them to the corresponding figures in this country. The French production figures were given me by Unifrance Film, the British figures by the British Film Producers' Association. Owing to the single feature programme operated in France and most other European countries, the average length of a top French feature is about 9,000 feet, whereas the figures quoted by the B.F.P.A. include all films from 6,000 feet upwards. Co-productions, the figures in the table below appear to suggest, mean an increase of production and improvement of the employment situation. But this will only apply to this country if we manage to evolve the right formula. Only if genuine British finance and genuine European finance are allowed to be used for these twinproductions, and only if the Board of Trade or a body appointed by it, acts as controller before granting quota, can the scheme be made to American stars have commanded the British Army, Navy and Air Force in order, we were told, to conquer the American market — just as incongruous perhaps and just as rewarding, but hardly for the British Producer. Genuine co-productions, however, will carry the British way of life into the heart of the continent of Europe. Because of the double quota, our co-productions will get the same showing as any French picture in France and any Italian ROMEO AND JILIET A British-Italian Film work here. Without this safeguard, production could be reduced rather than expanded. Still, if the producers of the other European nations were able to protect their own vital interests, then surely our own organisations should contrive to do the same. But there is more to this coproduction idea than greater output and employment. It is a twoway traffic of ideas and ways of life. Occasionally, it may be misused. British-European co-productions may cast Gina Lollobrigida as a Highland lassie or Anna Neagle as Mistinguette. The results may be incongruous yet highly rewarding. But I seem to remember that in the not so distant past Pure British French French Co Feature Year Productions productions Total Production 1952 88 21 109 65 1953 67 53 120 74 1954 53 45 98 86 1955 76 34 110 88 1956 90 39 129 89 picture in Italy. The names of our sta^s will become household words in Europe as much as they already are in this country. And we shall get a glimpse into the way of life of the other European nations. We shall realise that basically we all have the same problems and look for the same things in life: how to live decently side by side with fair shares for all. Co-productions can forge a link, an important link, between Britain and the Commonwealth on the one hand and the continent of Europe on the other. That alone should be a good enough reason to call them into life. Ivor Montagu We regret that Ivor Montagu's name was inadvertently omitted from the list of members elected to the General Council by A.G.M. published in the March issue of the Journal.