SPRING • 2019

ADOPTION OF THE EUROPEAN DIRECTIVE: A STEP FORWARD FOR AUTHORS CONTENTS N o .186 SACD President by SophieDeschamps, A majorstep forward! Adoption oftheEuropean CopyrightDirective European Directive a high-performance sport" “"Writing islike amarathon Olivier NakacheandÉricToledano SACD Funds CULTURAL ACTION 2019 Spring-Summerfestivals andshows RENDEZVOUS to create aUniversal Pension Plan Reforming theFrench pensionsystem Voting meanstaking action! Supporting emerging authors FEATURE FORUM EDITORIAL INTERVIEW AUDIOVISUAL SOCIAL ANNUAL GENERAL MEETING

byPascal Rogard

A STEP FORWARD

FOR AUTHORS

THE EUROPEAN DIRECTIVE:

ADOPTION OF

SPRING •2019

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Paradoxes

BY SOPHIE DESCHAMPS, SACD PRESIDENT

After several years of struggle, authors achieved two formats, talents, and so on. To be sure, we do have major victories at the end of March: the adoption of the scholarships, grants and commissioning of works, but EU Copyright Directive and the revision of the Satel- the beginning of the creative process is a time of soli- lite and Cable Directive. This clearly shows the extent tary effervescence and of extreme poverty for people not to which the pugnacious action of the SACD and other receiving the special dole money for artists ("intermit- LN PHOTOGRAPHERS LN collective management organizations (CMO) is effec- tence"), and for people who simply create without any tive and vital. The recognition of a right to proportion- nature of financial reserves, which, let us be frank, is the al remuneration for all European authors is a radical case of most authors. In the audiovisual sector, creating change, and proof that we can build a more egalitarian a universal license fee would make it possible to free up Europe. the necessary budgets for television and cinema. And in the performing arts, all institutions, regardless of size, Alas however, these victories do not mean that we can that receive public money should be obligated to allo- already cry victory. While Culture Minister Franck Ri- cate funds to writing. Responsibility for the spark that ester asserted that "cultural wealth is real wealth and lights the fire, for that initial moment when pen goes to this cultural wealth is to be found in our territories”, the paper, cannot rest solely on the shoulders of authors, no Minister of Action and Public Accounts, Gérald Darma- matter what the Minister of Action and Public Accounts nin, in an outburst of startling demagoguery, announced claims. that he was proposing the abolition of the television li- cense fee. His justifications are totally fallacious, omit- If now, I change the topic to female authors, this is only ting, as they do, the hordes of young people who regu- because I consider gender parity to be an essential larly watch television, as well as audiences on all media, democratic issue. The 2019 output of the Gender Parity to say nothing of the success of Radio France, Arte and Observatory in Culture and Communication proves that others. Even more curiously, his suggestion comes at the carrot approach does not work and that there needs a time when other countries are looking at how they to be more focus on yielding the stick in the form of might reform their television license and broaden their obligations to meet quotas of appointments, program- collection base to boost revenue and provide even more ming, and productions. Parity and diversity are nation- funds to foster our cultural wealth, an act which, to a al causes, and it is high time to put an end to vacuous large extent, is a democratic issue. In France, in these wishful thinking, and make real progress. The Ministry’s times of reformation of the public broadcasting sector, roadmap shows a willingness on his part, but this must what will remain of creativity if funding is no longer sus- be translated into actions at all levels, sanctioned when- tainable or reliably allocated? ever breaches are observed.

A cultural policy must stand squarely on both feet: the If and when we arrive at this juncture, we can finally remuneration of creators as well as the financing of consider that France has a real, coherent and fair cul- creativity. And, instead of considering how the license tural policy, a policy geared towards the future, towards fee might be abolished, we should be looking at how to a better future for all. increase funding for the writing phase, freeing up re- search and development budgets, looking for ways to Kind regards, attract authors, and boosting the development of new Sophie Deschamps

SPRING 2019 • LE MAGAZINE • SACD 3 FORUM

Gender Parity: keep fighting!

PAR PASCAL ROGARD, DIRECTOR GENERAL

Declared by President Macron as one of the Major ways to ensure “a better visibility of the various sections National Issues of his 5-year term, gender parity and of the French population, especially women”. measures to encourage Gender Parity in the culture and communication sector must be continued, and even In this regard, we must especially thank activists who intensified. have worked tirelessly over the years to bring this issue

AGENCE ENGUERAND AGENCE to the public arena, gradually making it a public policy The 2018 figures of the Gender Parity Observatory in issue in its own right. It is partly thanks to their actions Culture and Communication, published on 8 March, that the political lines have been moved. The respon- provide a real and accurate picture of the current situa- siveness and personal commitment of the number of tion and its inequalities. Above all, the figures represent women politicians who exercise their duties with great a point of agreement between those who want to see the courage and determination have also advanced poli- glass half empty and those who prefer to see it half full: cies towards parity. Here, I am thinking in particular of namely, much more can be done. Aurélie Filippetti, Najat Vallaud-Belkacem, Laurence Rossignol and Françoise Nyssen, all of whom left an in- Admittedly, some genuine progress has been made: the delible mark on the Republic’s commitment to equality role played by women in decision-making positions in between women and men. administrative and public cultural institutions has gen- erally increased; more women are becoming orchestra The struggle for parity is not easy because it is above conductors or are appointed to the head of accredited all a cultural struggle taking place in a society that has cultural institutions; there is increasing parity on selec- always given more to men than to women. And it is only tion boards, commissions, juries and similar bodies. through a profound change in mentalities that the dom- ination that has taken root can be uprooted, and stereo- But there is no room for complacency since things are types banished for good. proceeding at a very slow pace for an issue of such im- portance, and trends are sometimes erratic if not down- In the struggle for parity, the law too has a role to play. right disappointing. Indeed, even a perfunctory analysis Laws are a formal marker of the State’s commitments suffices to measure the progress yet to be made: 30% of and are essential to charting a virtuous path. The Bill accredited performing arts structures are run by wom- of 4 August 2014 on substantive equality between men en but generally speaking in venues with the small- and women, with several articles addressing the ques- est budgets. We are nose-to-nose with the infamous tion of culture, is to be considered both a foundation threshold of invisibility; works written and directed by stone and a compass. The Freedom of Artistic Creation women remain very much in the minority in live venues; Bill promulgated July 2016 also made gender parity a inequalities in remuneration persist. main policy goal for the performing arts. The Equality and Citizenship Bill of 2017 also ushered in substantial However, some progress has been made since Reine progress including a proposal tabled by the SACD: parity Prat woke, and even shook up, the general level of on juries and commissions of public cultural institutions awareness with her famous report published in 2006 on in charge of awarding grants.

4 SACD • LE MAGAZINE • SPRING 2019 “The struggle for parity is not easy because it is above all a cultural struggle”

Above and beyond laws, it is also worth mentioning the responsibilities in this regard. That said, real change will Equality Roadmap 2018-2022 published by Françoise only occur if all companies and professional organiza- Nyssen a little over a year ago. Never before has such tions in the culture sector participate, willingly accept- an ambitious plan been put forward to achieve parity in ing their responsibilities, making commitments, and our sector, a quality sorely lacking. taking concrete action. Indeed, this is the path that the SACD has chosen. The first such step was the decision Indeed, it is a paradox that culture, which by its nature to publish, from 2012 to 2017, the “Where Are the Wom- should incarnate and be a voice for openness, otherness, en?” Brochure with quantifiable data on gender parity. diversity and a respect for difference, actually paints a These statistics are now available from the annual ob- picture of a closed and sclerosed field, firmly anchored servatory of the Ministry, now in charge of collecting and to a male segregated world, and, to put it bluntly, per- collating such data. Another important gender parity fectly contrary to the spirit of artistic creation. marker for the SACD was a proposal we made last year to local authorities and cultural institutions to embrace The Equality Roadmap wants to break open this closed a charter of commitments to foster gender parity and world with new means. Truth be told, the carrot ap- cultural diversity. These are concrete examples of posi- proach which requests to show goodwill and gentle tive actions we have undertaken to encourage parity. nudging had reached its limit. This is why the adoption of binding, quantified and measurable objectives to ad- One thing is certain: we will continue, extend and con- vance gender parity was considered an urgent matter, solidate our commitment to gender parity, both in terms one example of which is increasing by 5% to 10% per of our outreach to public powers and institutional part- year the number of female artists featured in the pro- ners, as well as in terms of how we do things internally grams of accredited venues. at the SACD. As we currently stand, the SACD compris- es 75% women and 25% men, with a joint management Naturally, the audiovisual and cinema sectors must play committee and most of our board members are female. their part. Indeed, in both of these sectors, one notes When measured in the light of the professional equality that the positions held by women in general, and female index, now mandatory for companies to ensure equal directors and screenwriters in particular, are frequent- pay for men and women, the SACD obtained a score of ly insufficient, if not indeed entirely incidental, and less 89/100, for a national average of 80/100. well remunerated. The action plan initiated by the CNC (i.e., the French film Board) is a step in the right direc- Over the coming weeks, we will be signing the LGBT tion and will probably bear fruit. Of particular note is the Charter, proposed by the association Autre Cercle to 15% bonus for films that respect gender parity in the mark our commitment to an active HR policy in the on- key film crew positions (directing, production, photogra- going combat against discrimination based on sexual phy, etc.). orientation.

The responsibility for change is obviously political, and More than ever, let us all remain committed and deter- henceforth, no public authority will be able to shirk its mined!

SPRING 2019 • LE MAGAZINE • SACD 5 FEATURE

Adoption of the European Copyright Directive A major step forward!

Full details about the Directive Well, the proverbial times have on these platforms. A further ad- adopted on 26 March. changed, and there was clearly a vantage is transparency, in that the need to establish new rules to guar- royalties statements will indicate For the greater good of the authors. antee creators fair remuneration on the number of views their works digital and media. have received. Who, by now, has never heard of the Copyright Directive? Discussed Regarding the new Directive, two The new Article 17 will however not and debated for more than 3 years articles in particular have drawn be retroactive, and any agreements in Brussels and Strasbourg, the the attention of observers and pol- we have already concluded will con- Directive was the subject of in- iticians: Article 15 (previous Article tinue unchanged. The new article tense clashes, particularly between 11) creates related rights for press will however be very useful in forc- the digital giants, led by Google, publishers. The aim of this reju- ing, to the negotiations table, any and bodies representing authors, venated article is to remunerate platforms that don’t play fair and re- screenwriters, directors, musi- publishers, as well as journalists, fuse to accept their responsibilities. cians, and performers in general. whenever newspaper articles are This is the case, for example, of a Fortunately, the Directive was finally featured on Google News and oth- company like Facebook, blamed not adopted on 26 March by the Euro- er aggregators. This was a major only for its failure to respect per- pean Parliament, and will become a challenge to ensure press pluralism sonal data but also for its unwilling- reality for all authors in Europe over and indeed the very survival of many ness to pay royalties to the authors the coming months. press titles. of works posted on its platform. The second bone of contention was Article 17, intended to facilitate a A rebalancing better sharing of value between the Recognition cultural sector and the digital gi- of the relationship ants. In concrete terms, Article 17 of a right to with the GAFAs sets out two principles: firstly, plat- proportional forms (such as video-on-demand remuneration The reform of the Copyright Direc- services) will be required to con- tive, a measure initiated by the Eu- clude licensing agreements with This is a great collective victory for ropean Commission in 2014, had the rightholders and secondly, a European screenwriters and direc- one central goal: adapt the question greater onus will be placed on these tors, and we are pleased to report of copyright to the digital age. In platforms to combat piracy. that the SACD, along with the So- this regard, it’s worth remembering ciety of Audiovisual Authors (SAA) that the previous copyright directive In France, the SACD has already federating CMOs in the audiovisual was promulgated in 2001, at a time signed agreements with Netflix and industry, and other European au- when digital platforms were in their YouTube, pursuant to which authors thors’ organizations, played a key infancy, Google was just a start up, can receive remuneration whenever role in attaining this new entitle- and Facebook didn’t even exist. their works are posted and viewed ment.

6 SACD • LE MAGAZINE • SPRING 2019 For years, authors had rightfully wanted to be associated with the success of their works, especially on digital platforms, everywhere in Europe. This principle is now en- shrined in the Directive, in its new Article 18.

Of key importance was to put an end to a particularly unfair situa- tion. As things currently stand (i.e., prior to implementation of the new directive), only a few countries have implemented solutions at national level to ensure fair remuneration for authors (Spain, Italy, Poland, Netherlands, France, Belgium).

In other countries, European au- benefits for creators. their producers, without incurring thors (screenwriters, directors, liability, if the producers show lack videographers, etc.) have not been Article 19 (“Transparency obliga- of exploitation of the authors’ work receiving any proportional remu- tion”) requires producers to regu- (films, series or cartoons). neration when their works are ex- larly provide authors with informa- ploited. The new Directive can act tion as to the exploitation of their as a means to exert pressure on works and the revenues generated. And, going forward? platforms to come to the negoti- This Article will consolidate the ations table, and come up with a agreements signed last year with Preparing, voting and implement- new model to remunerate authors producers in the audiovisual and ing a European directive takes and performers on the basis of the film sectors. time. Now that the Copyright French model. And, at a time when Directive has been definitively French works are being exported Article 20 (“Contract adjustment adopted at European level, each more and more, this recognition of mechanism”) establishes an in- member state has 24 months to a right to proportional remunera- dividual right for authors to claim transpose it into national law. tion can create new remuneration additional remuneration whenever opportunities for French authors. the remuneration initially agreed The transposition into national law turns out to be disproportionately is an essential step; indeed, the The new Article 18 is also of poten- low compared to all the subsequent Directive will only come into force tial interest in France since it will relevant revenues derived from the definitively once a transposition be useful in consolidating agree- exploitation of their works. law has been approved by vote in ments that CMOs might conclude each country. And of course, the with the digital platforms (YouTube, Article 21 (“Alternative dispute res- devil is in the details, and it is es- Netflix, Amazon, Facebook, etc.). olution procedure”) establishes a sential that we remain vigilant so procedure to resolve disputes be- that the most welcome sections tween authors and producers. As of the Directive, in particular as A Directive with part of this article, representatives regards remunerating authors, many benefits of authors (e.g., CMOs) may act on are not weakened or hollowed out for authors author’s behalf. by lobbies seeking to undermine creators. Fortunately, France has The Directive’s chapter 3 entitled Article 22 (“Right of revocation”) is a already announced its willing- “Fair remuneration in exploitation new feature introduced by the Euro- ness to transpose the Directive contracts of authors and perform- pean Parliament whereby authors into national law quickly so as to ers” comprises a number of other can revoke their contracts with strengthen authors rights.

SPRING 2019 • LE MAGAZINE • SACD 7 INTERVIEW

Olivier Nakache and Éric Toledano “Writing is like a marathon, a high- performance sport”

Interview with the winners of the Henri-Jeanson Award 2018 INTERVIEWED BY CAROLINE COLLARD

Humor, insolence and dramatic power. These are the the time, we wanted to do a movie in a different way, to three qualities that the Henri-Jeanson Award recogniz- get away from the beaten track. And this was the spark es in a film author. Would both of you concur with that? that led us to the idea of telling the story of a team at Éric Toledano: Well, that might be a bit pretentious; work behind the scenes. That said, another starting let’s just say that we are particularly happy to receive point for a new project will be the desire to work with an an award for humor and comedy combined! This is rel- actor, in this case, Jean-Pierre Bacri. atively rare. As for dramatic power, it is true that this is O.N.: Other authors tend to start with a plan, then move where our whole challenge lies, as indeed is the case for on to a treatment and then the step outline. We tend to anyone who’s ever attempted to write. We’re also proud be a little bit “messy”… We like to start writing dialogue to come after people we admire so much, such as Jean- very fast, each of us writing down scenes, and the char- Loup Dabadie, Jean-Pierre Bacri and Agnès Jaoui, acters naturally emerge in their relationship to each Cédric Klapisch, and Pierre Salvadori. To have our name other, with their way of speaking, their own personality next to theirs is an honor and it means a lot to us. traits, humor, and so on. Olivier Nakache: For us, we always try, with every movie It’s important to remember that when you make a mov- we make, to bring humor and dramatic power together. ie, you’re making something that will be associated with That’s what we have always aspired to. you all your life. This means that when you choose a theme, a subject, and everything that goes with it, you’re Your career paths are inseparable and you have often making a real commitment! said that you could not imagine working without each É.T.: And, if that is to hold together, we need to be able to other. Concretely, and precisely how do you write to- express ourselves fully within the subject matter; there gether? has to be things we want to say and we need to find the É.T.: Well, if we take things in order, I would say that right approach to inject some humor. We don’t want to the first step consists in choosing a subject. And if one be “typical” filmmakers; we like to surprise and pop up of us comes up with the subject, then the other must where we are not necessarily expected. embrace it wholeheartedly, otherwise it won’t stand a You describe your way of working as a bit “messy”; is chance. So, assuming we both sign up to the subject, this because you start from situations? then the next step is to keep coming up with new ideas É.T.: Our first draft is a very hybrid text, with dialogs to bulk it out. We write them down and start to gauge alongside scenes that are first drafts. This document, them: how long does the idea last? Can we make it last? a mixture of full dialogs and rough sketches, is neither If I take the example of C'est la Vie!, our first goal was a step outline nor a screenplay. However, it does have to respect Unity of Time and Unity of Place, a constraint the merits of bringing the characters into existence, of that we imposed on ourselves as a driver of creativity. At giving us more insight into who they are. At this stage,

8 SACD • LE MAGAZINE • SPRING 2019 “Writing is like a marathon, a high- performance sport” CAROLE BETHUEL CAROLE

some of them are already clearly fleshed out, with É.T.: This first work of setting up the subject and prepar- well-developed personalities. Sooner or later however, ing the step outline takes at least three or four months. you have to respect the techniques of screenwriting, and And, once we’re more or less satisfied with the outline, get back to the original plan. In short, we don’t work by we start the second phase: the full dialogues. We rack the usual procedure, but in our own way, going back and up an incredible number of versions, easily 120 or 125! forth, we manage to come up with something! O.N.: Well, yes and no, because even if we change just O.N.: The characters are all the more embodied if we al- one sentence, we update the version… ready have the actors in mind. Jean-Loup Dabadie give us some advice about theatre, but which also applies to How do you divide the scenes between you? cinema: “[when writing], think about your dream actors, O.N.: It’s a random process. One of us can arrive in the you might not get them, but your film or play will be all morning and say that he feels good about writing this or the better”. that scene. We write sitting opposite each other in our We write a lot, and as soon as the writing process starts, office, and as soon as one of us has finished the scene, we already start discarding. It’s like in the editing room; we send it to the other’s computer to read it, modify it, the purpose of some scenes is to inspire other scenes, send it back and so on. The scene keeps traveling from but they don’t actually make the final cut. one to the other, it's very exciting!

SPRING 2019 • LE MAGAZINE • SACD 9 Milestone dates

2005: Let's Be Friends 2006: Those Happy Days 2009: Tellement proches 2011: The Intouchables You once said that music had a major influence on your 2014: Samba work, even going so far as inspiring you to create cer- 2017: C'est la vie! tain sequences. Could you tell us a little more about 2019: The Specials this? É.T.: Yes, firstly, when we’re writing, there’s always mu- CAROLE BETHUEL CAROLE sic in the background. We work sitting opposite each other, each of us in our own bubble as we write our É.T.: Each scene must be approved by both of us before scenes. Generally, we listen to the same music, and, as it becomes part of the screenplay. Then, once the toing has already happened on several films, the music that and froing is done, the scenes are sent to what we call we were listening to during the writing process ended our flagship. up being the music we used on the film itself. This was the case with Ludovico Einaudi (for The Intouchables Do you have any rules between you? and then Samba), who we discovered thanks to musical Together: The rule is that there are no rules! platforms, listening to his work during the entire writing É.T.: It’s normal to want to fight to defend the scene, es- process. As a result, we found it natural to call on him pecially during the editing phase when things can get a to write the music. This was also the case with Avishaï little heady, but there is no aggressiveness, no conse- Cohen, whose music style played an important role in quences, and, bear in mind we’ve been working togeth- giving a more jazzy rhythm to C’est La Vie!, and, here er for 20 years now, so we know each other by now and again, we ended up asking him to write the soundtrack. we don’t waste time on silly things… It’s our work! For our last film, we listen to German artists; a mixture O.N.: The goal is to make things run as smoothly as of electro piano that we like very much and that seemed possible. I’d also like to mention another type of work, very adapted to our film in particular and to the cinema namely our fieldwork before we even start writing, and in general. So, as it turns out, we haven’t worked very sometimes during writing, to nourish and enrich the much with real film composers even though we have screenplay with things that are true, that are real. We a lot of respect for their work… We have always tried both suffer from the same obsession: no matter where to team up with artists who already have a particular we are, we try to imagine how this place could serve as sensitivity, whose work corresponds to the film we’re the scene, with dialogs, a moment of tragedy or come- working on and has already had an impact on us when dy… Everywhere is a constant source of inspiration. For we’re writing; this leads to a kind of a bond which is very example, when we were working on C’est La Vie!, we difficult to undo since it has become part of the creative followed teams of caterers for the entire evening, and process. in the movie, when Jean-Pierre Bacri says to one of For us, music is a character in the film, and we consider the actors "You there, go put on a propeller and get to the right choice of music to be as important as the right work”, this is actually a sentence that was spoken by a choice of actor. It’s something that is very specific. catering team manager. We find our sustenance in re- ality. Firstly, because no single individual can have ex- Once the writing process is finished, you leave your perienced an unlimited number of real-life situations, bubble. How do things work between you two and oth- and secondly, because we want to be realistic. Then we ers? Who do they talk to on set? have the comedy aspect; that’s our thing, it’s where we É.T.: On the set itself, things aren't formal. The gener- feel good, it’s our way of expressing ourselves. Writing al situation is that you have one of us talking, and not is like a marathon, a high-performance sport. And you two people contradicting each other. Moreover, objec- really do need to train, to keep up the rhythm to ensure tively speaking, the screenplay is written, and we have genuine creativity. prepared and chosen the costumes and music. So, in the final analysis, we’re simply applying something we So, you would describe the writing process as smooth have already defined. On the set of The Intouchables, rather than painful? François Cluzet said: "When I’m on the set, I don’t rede- É.T.: Yes; firstly, there’s just the two of us writing togeth- fine the character; I simply apply what has already been er, then there are 30 people preparing a film, and then said”. 60 people on set shooting the film, and then we revert O.N.: On set, there are so many people milling around back to just the two of us in the editing room… A repeat- that you don’t really have time to be creative anymore. ed cycle. We also like to spend time together after the On set, the idea is to get up and running fast, as we have more media-oriented period before a film is released. already prepared and planned. Of course, there is such

10 SACD • LE MAGAZINE • SPRING 2019 INTERVIEW

a thing as the last-minute magic, where you change a the people we’ve worked with. Going forward, we would scene already written or improvise at the last minute. like to work with Alain Chabat, Romain Duris, or Jean And then you have the work with the actors, and this re- Dujardin. And personally, I'd like to work with Vittorio ally is THE right time to come up with some last-minute Gassman or Ettore Scola, but it’s not so easy, apparently. creativity. That said, once we're on set, we don't go off O.N.: Mastroianni if we could manage to get hold of at a completely different tangent; by the time of shoot- him…. ing, we are already speaking with one voice. Jean-Pierre É.T.: Yes, the Italians in general would be nice! In fact, Bacri said of us that we’re "brothers who don’t carry the our desire is that all this continues and continues for same name". a long time. Authors have a common neurosis; namely, writer’s block. We have the feeling that we’re experienc- Your beginnings in film writing are marked by a real ing something special because we’re back in the world determination, a formidable form of naivety and a lot of our childhood, in a place we hadn’t imagined. This is of desire... Today, having come so far with such suc- the key to everything. When I say to Jean-Pierre Bacri, cess, what drives you to write and shoot? "Do you want to play a role in our next movie?", I feel that É.T.: We had an atypical career. We first experienced a the word “play” accurately sums up the situation. classic linear evolution. Our first film was not a great success (Let's Be Friends with Gérard Depardieu and You are currently editing your latest film… and it’s not Jean-Paul Rouve, 2005), our second film (Those Hap- a comedy... py Days, 2006) met with more success, and Tellement É.T.: Indeed, our next film is called Hors Normes (“The proches (2009), our third film, was between the two. And Specials") and it deals with the subject of working with then came The Untouchables (2011), this huge success. autistic people described as hypercomplex. We have And, to be honest, the incredible success of this film un- been following the associations mentioned in the film settled us a little. We are not left entirely unscathed by for many years, even making a documentary for Canal+ this whirlwind; even if you might imagine that this film about their work. And, after all these years, we finally was only a positive thing, it still defines a lot of things in felt ready to treat the subject through the prism of fic- the eyes of others. It creates false representations. tion. O.N.: People think you're some kind of world champion. O.N.: This film is, however, completely based on real Whereas, in reality, we made this film in the same way facts. Everything is false and yet everything is true and as we made our earlier ones. That said, it is true that even if the general tone is more serious than in our pre- The Untouchables had a destiny that no-one could have vious films, there are still moments of fun setting off imagined. Even now, 7 years later, people still talk to us more dramatic moments. In fact, this combination has about it, especially since the remake was released in the been in our cinema DNA right from the beginning. United States. In that sense, the challenge has changed, É.T.: The film tells the story of some extraordinary peo- it has become: "What if we make sure that it doesn't ple who have decided to devote their lives to a category change anything?” of the population also classified as extraordinary. We É.T.: That we continue, just as before, with the same de- wanted to describe this conception of existence, to focus sire, the same determination, without being influenced on people taking action in today's France. Sometimes by this expectation of others; that we continue, with cinema needs to stick close to reality so as to better de- however the added bonus, arguably the most important scribe it, to share the intimacy of the characters, their bonus, namely, freedom, a freedom that we want to en- concerns, their challenges. joy to the maximum. What’s your take on our contemporary existence? You have had many decisive encounters along your What does it make you want to tell? This film seems career paths: meeting each other, of course, and for to be an answer... Éric, bumping into Diane Kurys in the street with this É.T.: We live in a society where communication is hyper- leading to a first work experience, and then Omar Sy... trophied, we spend hours on end hypnotized in front of Going forward, what encounters would you relish? our screens, but, at the end of the day, we are no longer É.T.: Well, there are some we would like to continue, very close to each other. This desire for hyper-connec- such as Charlotte Gainsbourg – we’re both fans - and tivity has disconnected us from reality. In this film, we Jean-Pierre Bacri. I like to quote François Truffaut, “life look at other types of relationships: real, human, strong, has so much more imagination than we do"… and this more intense. And, we do this at a slight remove which has certainly been true for us. We really do appreciate hopefully, adds touches of humor.

SPRING 2019 • LE MAGAZINE • SACD 11 AUDIOVISUAL

Supporting emerging authors Today's beginners are tomorrow's authors... This feature article looks at 3 structures supporting, each in their own way, emerging creators in the audiovisual sector. BY CAROLINE COLLARD Emergence, a directing lab unique in Europe Pierre Schoeller, Deniz Gamze Over the years, Emergence has Ergüven, Katell Killévéré, Joachim expanded its activities to include Lafosse, Mia Hansen-Løve, Marc young authors; in addition to the Fitoussi, Julie Bertucelli, Elie Wa- directors residency, Emergence jeman, Alice Winocour, Léa Feh- now offers La fabrique des séries, ner, Antonin Peretjatko... The list an annual program dedicated to could take up the whole page... All series consisting in 9 selected these directors have one thing in screenwriters participating in writ- common: they all took part in the ing workshops, as well as séries de Emergence cinema residence, the format court, a writing workshop only one of its type in Europe. Es- dedicated to short series, for which tablished by Élisabeth Depardieu 9 screenwriters are also selected. over two decades ago - inspired Opportunities galore to bring out

by what Robert Redford created the talents of tomorrow… AUGUSTIN MARIE at Sundance – Emergence is a Di- recting Lab for first feature-led projects. The only residence in Europe focused on actual shoot- ing, the laboratory chooses five directors each year to shoot two scenes from their feature-film script under real conditions, using their cast and crew in real settings. Sponsored, accompanied and ad- vised for 7 months, the budding directors advance their project, try things out under real settings, and meet other people. Emergence has been the seeding ground of over 50 films that later went on to a cinema

release. AUGUSTIN MARIE

12 SACD • LE MAGAZINE • SPRING 2019 Authors' corner

Supporting Participants in Emergence 2019. From 16 to 21 March, each participant shot 2 scenes from their planned emerging authors feature film, under real conditions. What are their first reactions? Lawrence Valin Why did you apply to Emergence? el… When I started acting, it wasn’t Because I wanted to test some from watching French movies that I things and strengthen the overall felt that I could one day do that job. cohesion of the cast and crew. For On the contrary… My grandmother me, Emergence is a laboratory; an was always commenting that there opportunity for me to shoot the se- were only whites…! And, rather quences of my upcoming feature than just complain, I prefer to take film (editor's note: EELAM) with- action and tell myself that I can

out any pressure of expectation. change things by making movies AUGUSTIN MARIE And this is very important because seen by others. I needed time to explore things Steve Achiepo that I hadn’t been able to do on my Mikhaël Hers is your sponsor. previous projects (Little Jaffna and What has this consisted in? Why did you want to do Emergence? The Loyal Man). For example, I was Well, just by complete coincidence, The initial idea was simply to shoot extracts of my able to test additional scenes with Mikhaël Hers was my tutor at the screenplay (editor’s note: Le Marchand de sable). And, a lot of extras, and situations with Fémis residence program, and so once I was at work inside the residence, I discovered a lot of actors. I felt that this was we already knew each other. It’s as that I could do lots of other things with my project. the right time to explore this since, if there was a mirroring of good- in the movie, there will be several will. Mikhaël gives us feedback Could you give us some examples? such scenes, and I will myself be about the screenplay, about the Well, I could test out scenes, or introduce new char- acting. With Emergence, I wanted preparatory exercises that we did acters that might be added to a new version of the to put myself at risk, so to speak, prior to shooting, on working with screenplay. When you take a scene from your film and by testing these things and in that the film composer… His feedback you have to look for actors or actresses to actually in- way, if I make a mistake, I want to is precious, and I will be meeting terpret this scene, and when you start thinking about be able to understand why. And with Mikhaël again during the ed- how you might design the set, and when you repeat clearly it’s better to make mistakes iting process to benefit from the this, things start to evolve, to move, and the whole here than on the set of the actual fresh perspective of someone who thing takes on life. Indeed, this experience led me to movie. Emergence is not just about was not part of the shooting pro- review the screenplay, and I rewrote several scenes. providing support, it’s also a mark cess itself; it will be new for him. Today, I will be shooting two extracts from my script, of approval. It means that we are slightly modified for the Emergence shooting, so that recognized as emerging directors. When will you start shooting EELAM? the scenes can be watched together. And I can do this And this is not just about myself, it’s The film action itself starts during with my technical team, under real conditions, with a also good for the Tamil community the Ganesh Festival. However, this real set design, and real preparation… This is invalua- that is supporting me and believes celebration takes place in August. ble, and affords us a wonderful opportunity to directly in the project. I have pried open the So, logically, we would expect to confront potential problems that some scenes of the door, and now I have a responsi- start shooting in August 2020, screenplay might have, and refine the writing. bility to open it even wider for all based on technical surveys we the young actors waiting in the would be carrying out next August. When do you expect to start shooting? wings. They didn’t even know that The film is produced by Agat films, It’s a winter movie, and hopefully the shooting will start such a thing was possible. This is who already produced my medi- at the end of this year, early next year. The movie is because we don’t have a role mod- um-length film. produced by Barney Production.

SPRING 2019 • LE MAGAZINE • SACD 13 AUDIOVISUAL

The Beaumarchais-SACD association, a talent incubator Séquences7, Questions à Agnès Breuil, Beaumarchais-SACD providing support How does the association support made something (short movie, young audiovisual authors? web-series...). There is also a large to emerging Beaumarchais' primary mission is contingent of actors or technicians to provide writing grants to emer- (editors, directors of photography, screenwriters ging authors. Beyond these scho- graphic designers...) interested in 3 questions to... Alban Ravassard, larships, of and by themselves a “going over to the other side”. We President of Séquences7 significant financial support for an also have some more surprising author at the beginning of his or applicants such as military people, How was Séquences7 born? her career, the recognition of their teachers or business leaders, who Séquences7 was created in 2001 by Frédéric Krivine talent as an emerging author and have been nurturing a personal and Laure Legrand, under the auspices of the UGS, a sense of acknowledgement from project for several years and who now the Screenwriters' Guild of France. The goal was their peers are often the strongest avail of our very open selection cri- to provide support to emerging screenwriters who did and most lasting effects of a Beau- teria to try their luck. not yet meet the criteria to join the union, providing marchais grant. them with feedback and the benefits of experience, Is there a Beaumarchais "angle"? with the aim of creating a link between confirmed and How would you describe the "pro- What do you tend to focus on when emerging authors. files" of authors who apply for a choosing whom to support? Beaumarchais grant? The angle of Discovery! Discovery What is its main vocation, its objective? Most applicants are young profes- of an author, a subject, a singula- Today, Séquences7 is an independent association of sionals at the beginning of their rity... Beaumarchais supports pro- the Screenwriters' Guild, but it has remained faithful to careers, screenwriters from La jects of very different genres and its primary vocation. Its objective is twofold: first, help Fémis film school or the European formats; the only criterion is that emerging authors to break away from real or potential Audiovisual Writing Conservato- the grants are reserved for emer- solitude by encouraging them to meet, exchange and ry, or directors who have already ging talents. collaborate with each other; and second, support them in their journey to professionalism by teaching them the tools of scriptwriting, while keeping them in the Previous winner of a Beaumarchais grant loop about the current evolutions in film, audiovisual and digital landscapes. Emmanuel Bourdieu, Baya Kasmi, Julie Bertuccelli, Emmanuel Carrère, Eve Deboise, Marina De Van, Emmanuel Finkiel, Alain Guiraudie, What concrete actions does Séquences7 take in favor les frères Larrieu, Lorraine Levy, Laetitia Masson, Pierre Schoeller, of emerging screenwriters? Agnès Obadia, Gustave Kervern, Benoît Delépine, Carine Tardieu, We run a number of actions such as masterclasses, Michel Leclerc, Hubert Charuel, Alice Vial, Clément et Romain Cogitore, writing workshops, monthly drinks between screenwri- David Oelhoffen, Julia Ducournau... ters, pitch-dating evenings with producers, and script- doctoring with Guild members, to name but a few. Follow in their footsteps by applying for a Beaumarchais In fact, between 3 to 4 events are organized each writing grant: http://soutiens.beaumarchais.sacd.fr/ month on a wide range of topics, anchored in a theme related to current sector news or to the fundamentals of the profession. These activities, based on feedback and the passing on of experience, either involved or are They also support emerging authors... supervised by experienced, active professionals, who are specialists in the topic under discussion. L’Association 1000 visages • La Résidence - La fémis • La Poudrière • La Ruche - Gindou Cinéma • Talents en Court au Comedy Club... For more information: www.sequences7.fr

14 SACD • LE MAGAZINE • SPRING 2019 ANNUAL GENERAL MEETING

27 June 2019 Voting means taking action!

Don’t miss the SACD Annual General Meeting. It’s a unique opportunity to debate the major directions to come, defend your rights, and decide on policy in favor of creativity.

All SACD members are requested consulted from within your Mem- form will be posted to you along to attend the AGM taking place on ber Space on the sacd.fr website. with the notice to attend. The form Thursday 27 June, 2019. The pur- They can also be consulted by au- is also available on the website in pose of the AGM is to approve the thors at the SACD headquarters or your Member Space. 2018 accounts and transparency can be posted to you upon request. report, to discuss questions put by Each one of you is requested to The voting mode chosen for the authors*, and, naturally, to elect vote during the election of these AGM will be the same for all the new members of the Board new members. the votes cast during that AGM; of Directors and the Supervisory namely, voting for resolutions and Board, the statutory body created 4 ways to vote electing candidates to the statuto- last year. (see diagram on page 16) ry bodies. • Electronically Decisions taken during AGMs to 14 seats to fill Online over the secure website at elect candidates to the various https://vote.election-europe.com/ bodies and to approve ordinary This year, there are 14 positions to Elections-SACD resolutions are taken by a relative fill within the two bodies. Over the From 27 May to 24 June 2019 at majority of the votes cast, with the last few weeks, various authors noon, Paris time (UTC +2). exception of decisions concern- have submitted their candidacy for ing the distribution of funds orig- the different positions. Their CVs • By Land mail inating from the Private Copying and statements of intent can be For people having made this re- levy (assigned to Cultural Action), quest before 27 February 2019. which require a two-thirds major- ity (art. L 321-9 of the French Intel- Reports, social accounts from 2018, and the • At the AGM lectual Property Code). texts of resolutions may be consulted in your On the day of the AGM, Thursday, Member Space at www.sacd.fr, as well as at SACD 27 June 2019 at 2:30 p.m. at the Any decisions entailing making a headquarters. SACD Maison des Auteurs SACD change to the SACD’s Statutes can Administrative and Financial Division: 11 bis rue (7 rue Ballu, 75009 Paris). only be taken by an Extraordinary Ballu, 75442 Paris Cedex 09 General Meeting, and require an Monday-Thursday from 10 a.m. to 4:30 p.m., and • By proxy absolute majority. Fridays from 10:00 a.m. to 4:00 p.m. By confiding your vote to anoth- Find all our information in your Member Space er SACD member with the same * To be included in the agenda of the AGM, – under the tab “assemblée générale” – on our grade, you are represented at written questions from members must reach the Board of Directors by registered website www.sacd.fr the AGM and can vote in your own post at least 45 days beforehand (art. 34-II name in session. The proxy vote of the SACD’s Statutes).

SPRING 2019 • LE MAGAZINE • SACD 15 ANNUAL GENERAL MEETING

1. ELECTING YOUR REPRESENTATIVES Roles of the different statutory bodies

BOARD OF DIRECTORS SUPERVISORY BOARD 31 7

11 seats available 3 seats available Term: variable between 1 and 3 years Term: variable between 1 and 3 years

disciplines seats to fill disciplines seats to fillr Theatre 4 Performing Arts 2 Music 1 Audiovisual 1 Cinema 1 Television screenwriters 2 Television directors 2 THE ROLE OF THE SUPERVISORY BOARD Animation 1 - Monitor the activity of the Board of Directors and the Director General THE ROLE OF THE BOARD OF DIRECTORS - Exercise the powers accorded to it by the AGM - Pronounce an opinion on any refusals by the - Defining Society policy administration to communication requests from - Establishing the annual budget members - Determining, for collective management royal- ties, the parameters and conditions of distribution - Classifying works - Governing admission of new members - Deciding on offering legal or social assistance to a Society member - Determining resources allocated to Social Action MORE INFORMATION - Defining conditions for the allocation Administrative and Financial Division of the Cultural Action budget within Tél. 01 40 23 46 28 – [email protected] the various repertoires You can consult the SACD statutes at www.sacd.fr

KEY DATES 13 April 2019 > Deadline for submission of candidacies. 26 April 2019 > Availability of candidates’ files, reports, social accounts for the year 2017, and texts of resolutions. Candidates’ files are accessible in the Member Space of each author (www.sacd.fr) and at SACD headquarters. They can also be posted out to authors, on request. Contact: Isabelle Kletzkine – Tel. 01 40 23 46 28 – [email protected] 27 May 2019 > Opening of postal and electronic voting for election of candidates and for all resolutions of the AGM. 24 June 2019 > Closing of postal and electronic voting (noon Paris time). 27 June 2019 > 2:30 p.m. AGM at the SACD Maison des Auteurs (7 rue Ballu – 75009 Paris).

16 SACD • LE MAGAZINE • SPRING 2019 2. HOW TO VOTE

SACD MEMBERS

4 WAYS TO VOTE

ON LINE BY POST AT THE AGM

From 27 May to 24 June 2019 From 27 May to 24 June 2019 Thursday 27 June 2019 at 2:30 p.m. at noon (Paris time) at noon (Paris time) At the SACD Maison des Auteurs (7 rue Ballu - Paris 9e) https://vote.election-europe.com/ only for authors having made Elections-SACD/ this request by 27 Feb. 2019 IN PERSON BY PROXY

VOTE

TO ELECT

BOARD OF DIRECTORS SUPERVISORY BOARD 11 seats available 3 seats available

Access to the AGM: If you are an SACD member, you can come to the AGM, regardless of whether or not you have already voted, and regardless of how you voted. Show your SACD membership card or ID to enter.

If you have not yet received your SACD membership card, you can request it either by sending an email ([email protected]), by phoning (+33 (0)1 40 23 44 55) or by sending a letter to SACD, Authors Section, 11 bis rue Ballu, 75442 Paris Cedex 09, France.

See your Member Space at www.sacd.fr for complete voting details

SPRING 2019 • LE MAGAZINE • SACD 17 SOCIAL Reforming the French pension system to create a Universal Pension Plan Authors will be concerned by the plans to reform pension plans.

Currently under discussion, the idea Jean-Paul Delevoye, High Com- the general social security scheme, is to replace the 42 pension plans missioner for Pension reform, will albeit under conditions tailored to currently in existence in France (ba- submit his recommendations in their profession. sic and mandatory supplementary May so that the parliamentary de- As a result, it can no longer be con- plans) with a single Universal Pen- bate can begin at the beginning of sidered that they enjoy a special sion Plan, based on a single-rate the summer, using a timetable he status per se. contribution, regardless of the sec- announced on 11 March during a tor of activity and the contributor’s debate in the National Assembly. The Bill of 31 December 1975 at- status (employee, civil servant or tached the basic pension plan for self-employed). We note that the High Commission- authors (social security and retire- er for Pension Reform has already ment) to the general social security Each euro paid in would give all con- consulted with the bodies repre- scheme, with the difference howev- tributors an equal right to a pension. senting the salaried professions er that authors receive full benefits There would only be one single plan and self-employed persons in order without paying any employer’s con- to which persons would contribute to prepare this project which is of tribution. The idea underlying this up to a maximum amount of three importance for all French people. 2015 Bill was clearly stated in the in- times the current Social Security By contrast, bodies representing troduction: “provide a small but crit- ceiling (€120,000 in 2019). The en- authors and performers will not be ical group of people who are essen- visaged rate would be similar to that received by the High Commission- tial to the cultural influence of our currently applied for an employee er until the beginning of the month country with broad and unified social and his/her employer (namely, 28%). of May, in other words, in the wake protection, and to ensure that ad- And, when one considers that, as of the others…. Working alongside ministrative rules intended for other things currently stand, the over- professional organizations and au- professions do not hinder or impede all contribution rate for all pension thors’ representatives within the creative work”. The legislator’s con- plans (basic and supplementary) to IRCEC, the SACD intends to par- cerns at the time, chiefly influenced which authors contribute is 19.3%, ticipate fully in exchanges with the by the variable nature of authors’ this means that, barring subsequent High Commissioner so that the incomes, clearly remain relevant to- modifications, the yield for authors level of social protections for our day, arguably even more so. would be less than the current yield authors is not undermined by this of the two supplementary pension major reform. In addition, the three supplementa- More plans for authors, namely the RACD ry pension plans, namely the RACL, and the RAAP. It is worth recalling that, starting in the RAAP, and the RACD, set up in information: the 60s, the social protection sys- 1961, 1962 and 1964 successively, Full information Parliamentary debate tem for authors in France has been have undergone necessary and ef- about the intended gradually constructed throughout fective reforms over recent years, pension scheme reform, to take place early the decades, taking into consid- enabling authors to build up pen- prepared by the IRCEC this summer eration the singular nature of the sion entitlements reflecting their http://www.ircec.fr/ industry and the royalties-payment careers under suitably tailored actualite/reforme- Nothing has been definitively set- method. Pursuant to a Bill passed terms of payment contributions, retraites-mobilisons/ tled, but things are moving forward. in 1975, authors are attached to and highly satisfactory vesting.

18 SACD • LE MAGAZINE • SPRING 2019 With the SACD, stay connected!

Calls for projects, awards, Questions to... news, political battles, Luc Béraud services, information... Filmmaker, President of IRCEC All SACD services What are your concerns as regards and information this potential reform? We are concerned that we will be available everywhere, equated with regular employees, all the time. tradespeople or independent pro- fessionals. The reality however is that the pro- fession of author-artist is a speci- At the moment, authors pay about fic status, and royalties cannot be 12% of their income into supple- considered income comparable to mentary pension plans which, wages or salaries. Bear in mind moreover, offer a very good yield. www.sacd.fr that authors have no control over But, if one were to apply, for the the extent to which their works will Universal Pension Plan, a contri- be exploited. Contrary to common bution rate set at three times the Facebook/sacd.fr belief, authors-artists are not weal- annual social security ceiling (i.e., thy; in fact, a significant majority just over €120,000), this would re- (over 75%) are below the first ceiling sult in authors losing their supple- Twitter SACDParis of the Social Security (i.e., earn less mentary pension plans and having @ than €40,524). them aligned with the pension plan The 1975 Bill exempted authors-ar- yield for regular employees. In other Instagram sacdparis tists from paying employer contri- words, authors would end up paying @ butions. Which is only logical given more to receive less! All of which is that they do not have any bosses. Up in complete contradiction with the YouTube to now, whenever an author retires, commitments given by President the pension he or she receives is Macron. calculated as if the author had ac- tually paid employer contributions. So, what are you looking for? This special exemption was granted We are looking for a pension system in the name of the positive role that respects the specific charac- played by creators in France. Now, if teristics of our profession. Organi- the planned Universal Pension Plan zations representing authors and were to come into force without ta- artists were alarmed by Jean-Paul king into account the specific status Delevoye's announcement on March Site: of authors, this means that authors 11 to the effect that consultations www.sacd.fr would end up having to pay 28% of have been terminated, even though their income in pension contribu- these organizations had never really tions alone, which would be absolu- been consulted. We had the feeling tely unacceptable. of being put in front of a fait accom- In addition, authors-artists can avail pli. The resulting mobilization of of supplementary pension plans, artists and authors has borne fruit which are very well-managed by the and we will be having some real IRCEC. meetings as of next May. RENDEZVOUS

FESTIVALS

APRIL MAY JUNE

CANNES LES NUITS FILM FESTIVAL DE FOURVIÈRE The SACD Authors' Theatre, music, Pavilion, to be found dance, opera, along Promenade circus... Les Nuits de de la Pantiero, is Fourvière is dedicated the essential place to the performing for authors and arts and, since 1946, film professionals has been working to meet, exchange to bring the artistic and debate the disciplines together. RENNES ANIMATION FILM FESTIVAL issues that drive INTERNATIONAL DANCE MEETING Each summer, the Now in its 25th year, the Festival continues to film creation. The OF SEINE-SAINT-DENIS festival runs nearly grow. Starting March 25, three weeks of scree- SACD supports Located in the heart of Seine-Saint-Denis, Ren- 60 performances nings in partner cinemas and the Ensorcelée and encourages contres chorégraphiques provide an opportunity attracting over Caravan throughout the region, for a total of film writing, for artists to exchange ideas and share their 130,000 spectators. over 20 associated cities. In Rennes (24-28 notably through the thoughts on choreographic writing, aesthetics Each year, Les Nuits April) two new partner venues, Le Tambour Screenplay Award and current issues of importance in art and in de Fourvière partners de l'Université with a special focus on ani- (which it initiated in general. The troupes this year come from seve- with other festivals mation of the sixties and Les Champs Libres 1994) awarded at the ral countries including Belgium, Switzerland, and institutions to hosting some of the works of the Salon des closing ceremony France, Brazil, Iran and America, and they will produce or co- expériences numériques animées (SENA) to of the Festival, the be plying their dancing skills in thirteen partner produce devised experience animation in new forms. A full five SACD Prize awarded venues spread over the Seine-Saint-Denis works with artists of days of screenings (74 films in competition and to a French-language département. international renown. 65 in panorama), meetings, workshops, trade feature film at The SACD supports the educational activities From 1 June to 30 July, tips and special events (TNB, Arvor Cinema) to the closing of the carried out throughout the year by the organi- Fourvière. discover French animation in all its formats. Directors' Fortnight zer of this event including meetings with artists www.nuitsdefourviere.com From 24 to 28 April, Rennes. and the SACD Prize and teachers over the region. www.festival-film-animation.fr/ awarded to a feature From 17 May to 22 June, Seine-Saint-Denis. film in competition at www.rencontreschoregraphiques.com International Critics' Week. The SACD also supports ACID's programming in Cannes. 15-25 May, Cannes. www.festival-cannes.com

20 SACD • LE MAGAZINE • SPRING 2019 JULY

ANNECY INTERNATIONAL SÉRIE SERIES AIX-EN-PROVENCE FESTIVAL ANIMATED FILM FESTIVAL Run over three days, Série Series is the The 2019 Aix-en-Provence opera and The world reference in animation cinema meeting place for European series and classical music festival will be the first to with 220 selected films and more than 500 their creators, designed by those who make be held under Pierre Audi, its new general screenings (from 88 countries), this year’s them. The aim of the festival is to shape “the director, featuring a program devised festival pays tribute to Japanese animation, Europe of series”, and act as an incubator entirely by him. All the works selected will and will welcome Yôichi Kotabe as guest of for the series and talent of tomorrow and as be new to the festival: Mozart's Requiem honor as well as Yoshiaki Nishimura and Koji a laboratory dedicated to European creation conducted by Raphaël Pichon, directed Yamamamura as members of the jury. and to exchanges about working methods. A by Romeo Castellucci, Puccini's Tosca In parallel with the festival, MIFA (i.e., the unique event where the public and creators can conducted by Daniele Rustioni, directed by market part of the event) will be welcoming meet for screenings of recent or unreleased Christophe Honoré, Rise And Fall Of The City over 550 international exhibitors and organizing European screenings, case studies with teams Of Mahagonny by Kurt Weill, conducted by pitching sessions, where budding talent can (creators, actors...), masterclasses, signings, Esa-Pekka Salonen, directed by Ivo van Hove, meet animation professionals. The SACD and meetings. Séries Series also includes The Jakob Lenz by Wolfgang Rihm, conducted will be running several events: on 10 June, a European Series Summit, the “business” side by Ingo Metzmacher, directed by Andrea pitching workshop with experts and an SACD of the event. Breth, The Sleeping Thousand by Adam Maor, representative; on 11 June, a special discussion Created by an editorial committee of libretto by Yonatan Levy, conducted by Elena to help creators faced with signing their first passionate professionals, the event has a Schwarz, directed by Yonatan Levy and Blank contract; on 12 June, a masterclass for series demanding editorial line and is intended out by Michel van der Aa. creators (with the Guild of Screenwriters) and a to act both as a platform for meetings and The SACD supports the Original Opera Piece press conference dedicated to the presentation opportunities and as a think-tank dedicated to workshop (“Atelier opéra en création”) and of a study on animation; and, on 13 June, the creation. the workshop reserved for female creators in SACD will be presenting two MIFA Pitch Awards Every year, the festival attracts no less than opera (“Atelier créatrices d'opéra”). (for a short film project and an interactive and 600 professionals in search of productive 3-22 July, Aix-en-Provence. transmedia creation project). The last SACD collaborations. www.festival-aix.com event during the festival will be a meeting with 1-3 July, Fontainebleau. Arnaud Demuynck will take place on 14 June at www.serieseries.fr the Cinéma Pathé. 10-15 June, Annecy. www.annecy.org

SPRING 2019 • LE MAGAZINE • SACD 21 CULTURAL ACTION

SACD Funding Calendar All year round, the SACD supports creation by means of Funds financed through its cultural action.

FONDS SACD THÉÂTRE AVIGNON OFF (SACD AVIGNON-OFF THEATRE FUND) The Avignon-Off Festival is the biggest theatre festival 2017, as part of its cultural action, two support schemes in France and a celebration of contemporary creation to contribute to the staging of devised theatre works. and its manifold expressions in theatre and comedy. It is The Avignon-Off Theatre Fund is intended for original, however also a significant financial burden and risk for unpublished French-language theatrical works pre- participants. Aware of the difficulties faced by authors, miered during the 2019 Avignon-Off Festival. The sup- and keen on contributing to contemporary creation by port, granted without conditions attached, is €4000 per allowing authors to try their luck and reach out to the selected show. public, the SACD Board of Directors decided to create, in Submission deadline: 17 May

Apply on line on the SACD and Association Beaumarchais-SACD support portal: http://soutiens.beaumarchais.sacd.fr.

Magazine des auteurs SACD Catherine Verhelst (music and dance) No.186 • Spring 2019 11 bis, rue Ballu - 75442 Paris cedex 09 Board members with delegation: [email protected] Catherine Cuenca (interactive creation), Responsible Editor: Tel: +33 (0)1 40 23 44 55 Luc Dionne (Pdt of the Canadian com.), Pascal Rogard Jean-Luc Goossens (of the Belgian com.) Board of directors Frédéric Michelet (street arts), Jani Chief Editor: 2017-2018 Nuutinen (circus), Éric Rondeaux Catherine Vincent President: (animation), Catherine Tullat (radio), Sophie Deschamps Panchika Velez (stage direction) Editorial coordination: Caroline Collard First vice-president: Board Members: Brigitte Bladou Nelly Alard, Marion Aubert, Sylvie Bailly, Graphic design: Jean-Xavier de Lestrade, Michèle Dhallu, Dimaj Studio Vice-presidents: Valérie Fadini, Graciane Finzi, Laurent Brigitte Buc (theatre) Heynemann, Arthur Joffé, Laurence Printed by Escourbiac (Graulhet) Caroline Huppert (television) Katrian, Corinne Klomp, Joanne Leighton, Laurent Tirard (cinema) Mathilde Maraninchi, Marie-Castille Cover photo: Alain Stern (television) Mention-Schaar, Blandine Pélissier, Le Goff & Gabarra Dominique Sampiero.

22 SACD • LE MAGAZINE • SPRING 2019

FIGHTING F O R CREATORS www.sacd.fr

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