Ambitious Projects for France Winter • 2019 .185
Total Page：16
File Type：pdf, Size：1020Kb
WINTER • 2019 Reed Hastings AMBITIOUS PROJECTS FOR FRANCE WINTER • 2019 .185 Reed Hastings AMBITIOUS PROJECTS FOR FRANCE o N EDITORIAL p.03 by Sophie Deschamps, SACD President FORUM by Pascal Rogard p.04 FEATURE Netflix Roma or the Story of a Movie made for the Cinema p.06 Interview with Reed Hastings p.08 INTERVIEW p.10 Klaire fait grr “Sound writing offers incredible freedom, but it makes the mind spin too” Find full information on ARTISTIC EDUCATION p.12 Vincent Dedienne www.sacd.fr Sponsor of An Artist at School 2019 CULTURAL ACTION p.16 Join us on SACD/OCS Signature Fund, Act II Facebook ANNUAL GENERAL MEETING p.17 www.facebook.com/sacd.fr SACD Elections, How to vote AUDIOVISUAL p.18 Follow us on Talents Force 8 at Groupe Ouest Twitter RENDEZVOUS p.20 @SACDParis Winter 2019 CULTURAL ACTION p.22 Instagram SACD Funds @sacdparis CONTENTS CONTENTS EDITORIAL Ask for the Program! BY SOPHIE DESCHAMPS, SACD PRESIDENT Move forward, keep fighting, again and again. Defend nerated right from the commission of a work to its fair and proportional remuneration, secure authors exploitation over its entire duration. rights, advocate for contemporary creation, dissem- ination, the exploitation of works, the sharing of val- The creative professions irrigate our screens and ter- ues, and transparency. These are not just items in an ritories. The creative arts unite, bring people togeth- LN PHOTOGRAPHERS LN agenda; they are also actions, entailing negotiations er, and are a source of entertainment, thought, poet- and dialogue (sometimes tense) with our interlocu- ry, activism, education and openness. Authors should tors. Urgency is always our “problem", because Time not be considered as bit players that we look down on; is not the same for those who govern the proceedings rather, they should be seen as the central point, the as it is for us, the authors. For some, it is urgent to source of everything, essential. wait. For us, it is urgent to act. This is why we have started and will continue the The most striking example is France Télévisions, a reform of cultural action. From now on, altogether public audiovisual service, which is dragging its heels (and no longer repertoire by repertoire), and in full in renegotiating the contract we have denounced in transparency, we will vote on the strategies to be im- order to preserve authors' rights. The promise made plemented, the aid packages to be developed and the that budgets dedicated to creation of works will not budgets to be allocated. Moreover, we are currently be reduced must be accompanied by a commitment working on support for authors, and the 25% contri- regarding broadcasting rights and the future of an- bution stemming from the private copying levy devot- imation and feature film writers at a time when the ed to cultural actions will be reviewed. France 4 channel is coming to an end. The trend to 100% digital, the competition with Netflix (a platform Taking action together makes for better knowledge of that pays authors proper remunerations) are not ar- the different repertoires and a real discussion by the guments worthy of a free public service, because the entire Board of Directors according to the different obligation to subscribe to an operator makes digital a stages of a career, the need to value parity and diver- paying service. sity, while being attentive to the variety of repertoires, territories and talents. Your ideas are welcome, shar- Announcements made to support the creative arts ing is an essential value, and if we can act and re- must be followed by real actions and not by flippancy. act, reflect and reform, then this is also thanks to the But this flippancy can be discerned in the performing quality and high professionalism of the SACD teams. arts, in public theatre where works and their authors We would like to thank them warmly for this. suffer from a lack of dissemination. Dissemination must become part and parcel of public aid and not Best Wishes 2019 just a vague possibility. And authors must be remu- Sophie Deschamps WINTER 2019 • LE MAGAZINE • SACD 3 FORUM A cultural policy, what’s the point? PAR PASCAL ROGARD, DIRECTEUR GÉNÉRAL The current situation is undoubtedly due largely to the inability of politicians, and indeed culture-sector The question is obviously akin to a provocation as a new professionals, to renew, over the past few years, a dis- year begins. Especially in a magazine aimed primarily course that legitimizes public action in favor of crea- at authors, for whom the dynamics of culture and cre- tion and culture. ativity are rightly based on strong public action that we do not find anywhere else in the world! My question In a society that has undergone profound change, three AGENCE ENGUERAND AGENCE could however also have been put by Voltaire's Can- dominant discourses still complement or sometimes dide were he to be suddenly transported into our trou- compete with each other to support cultural policies. bled times. The most recent is undoubtedly the economic dis- And yet, it has never been more urgent to ask it. Not course, directly related to the contribution of cultural to highlight its irrelevance (more than ever now, it is activities to employment or GDP in a region or country. essential to keep creation alive and diverse) but, on the contrary, to strengthen its legitimacy with the people. In this regard, a joint study by the French Ministries of Economy and Culture in 2014, found that culture The Yellow Vests, this social movement that has been contributes seven times more to French GDP than the stirring up France since November has resonances automobile industry. The economic impact of culture which, at first glance, are at quite a remove from cul- is an important factor that can convince local elected ture: fuel tax hikes; fear of downward social mobility; officials who expect culture to have an immediate fol- enunciation of a representative democracy too distant low-on impact in terms of employment. from the real aspirations of the people… Such a discourse however carries with it two major But there are also questions in this mobilization that risks: first, the trivialization of the cultural and crea- directly concern culture and creativity: how can we tive sector, reduced to comparing itself to the chem- ensure the full legitimacy of taxes and public spend- ical, automotive or telecom sectors. This mentality ing? Are public services sufficiently present in the daily could eventually lead policymakers to consider culture lives of citizens to meet their needs and provide them as an economic activity like any other. If this were to be with high value-added services? Beyond the singular the case, then culture would have to be treated using illustrations that could be found to answer these ques- the same rules, including those pertaining to competi- tions, it must be acknowledged that in recent years, tion and State aid, and those rules made possible un- the very legitimacy of cultural policies has sometimes der the concept of cultural exception would have to be been doubted, called into question or indeed, their very scrapped. raison d’être disputed. The other risk is that of forcing the creative arts to be Indeed, many elected officials, particularly local ones, profitable. To see culture solely from an economic an- have explained to us that they have difficulty getting gle is to condemn artistic creation to be profitable be- their voters to adhere to the cultural policy of their fore it can even exist, without however anyone actually electoral districts, with voters either disputing its va- knowing the miracle recipe for measuring in advance lidity or cost, or because they do not consider cultural the economic success of a work. Such a discourse also policies relevant compared with other expenses to be brings with it the longer-term risk of killing diversity, incurred, particular social ones. which spawns the richness of creation, and of jeop- 4 SACD • LE MAGAZINE • WINTER 2019 “To see culture solely from an economic angle is to condemn artistic creation to be profitable before it can even exist” ardizing initiatives and projects of value which bring Nor should the impact of digital technology, which has thought and intelligence to our society. caused major upheavals, be underestimated: the pos- sibility of access to works, the power of the consum- Justifying cultural policies also very often requires er-spectator to choose, the increase in cultural supply, putting forward a discourse on the educational contri- the creative processes, the concentration of distribu- bution of creation. Culture can and must be a struc- tion powers, etc. turing element for citizens and in particular for young people. Let us be clear, Arts and cultural education is Nor should we forget the anti-copyright rhetoric that now a priority that must be strengthened. The SACD has stemmed from legislation aimed at protecting cre- contributes to this by providing its support within the ators' rights to fair remuneration, nor the proliferation framework of its cultural action and was also at the of attacks by major Internet groups, marching forward origin of the operation An Artist at School which will with a vision reminiscent of the Conquest of the West celebrate its 8th anniversary this year. by gold seekers. On the other hand, cultural policy cannot be reduced In this context, one can of course think of Pasolini and to existing solely for the purpose of participating in the his famous quote: "The Old World is dying, the New training of young people; to do so would be to make World is slow to arrive and from this chiaroscuro mon- cultural policy simply a subset of an educational policy, sters emerge.” even though its vocation is much broader.