Ten Years of Cultural Diversity and Now What?

AUTUMN • 2015

TEN YEARS OF CULTURAL DIVERSITY

AND NOW WHAT?

AUTUMN • 2015

TEN YEARS OF CULTURAL DIVERSITY

AND NOW WHAT? Shoring up the future . 172

by SOPHIE DESCHAMPS, editorial p.03 sacd president by Sophie Deschamps, SACD President The UNESCO Convention on the Protection and to line their pockets by disseminating artistic works Forum by Pascal Rogard p.04 Promotion of the Diversity of Cultural Expressions was but without participating in the financing of European signed ten years ago. At the SACD, we share all the values creation. hotographers P focus p.06 set forth in this founding text: cultural diversity is indeed Defending cultural diversity also consists in improving N

© L © a defining characteristic of humanity, a mainspring for the social condition of authors, supporting the French Ten years sustainable development for communities, peoples and language before it is entirely supplanted by English in nations, and indispensable for peace. cinematographic and audiovisual projects, and fighting of cultural diversity. The Convention recognizes the importance of intellectual for gender parity in the arts. property rights; it refers to authors and reaffirms the The Artistic Creativity Bill (“loi sur la création And now what? sovereign rights of States to implement policies that artistique”) which has just been voted by the French they deem appropriate to support creators; it recalls National Assembly thankfully includes measures which Authors’ rights seen from Brussels p.09 Find full that linguistic diversity is a fundamental element of we have been recommending to ensure the defense of by Günther Oettinger, cultural diversity, and recognizes the need for a policy of French-language original works in the performing arts EU Commissioner for Digital Economy information on quotas, as well as obligations to fund and disseminate and encourage gender parity. The Bill also sets down an www.sacd.fr original works. All of which has played a role in making obligation of non-dormancy so as to make audiovisual AUDIOVISUAL p.11 art in France a living force. and cinematographic works more accessible to the © Showrunner, did you say? Android Iphone© Back in 1993, during the battle of ideas to maintain general public. the concept of “cultural exception” as part of the Diversity also entails having a public service which is Interview p.14 discussions around the General Agreement on Tariffs strong, independent and audacious, enjoying sufficient Jean-Paul Rappeneau and Trade (GATT), authors pulled no punches to finally resources to push creation forward. Initial discussions “The story drives me to make the movie” have enshrined, in 2005, a cardinal principle: that with Delphine Ernotte, recently appointed to the helm cultural activities, goods and services are special, of France Télévisions, have been positive, marked by PARITY p.16 and must therefore not be treated as solely having constructive listening and a shared desire to foster Where are the women? commercial value. This crucial message is part of the new relationships with authors, based on mutual trust. Join us on UNESCO Convention which has now been signed by 138 Public television must lead by example when it comes to TRAINING p.18 countries. diversity. Since this is currently, and regretfully, not the The cinema of the future can also be found in Lyons Facebook Now, the challenge is to shore up the future of cultural case, it is important that dialog continue and result in a www.facebook.com/SACD.fr diversity in a fast world changing ever faster, under the genuine desire for diversity in shows, series, once-off social p.19 impetus of globalization and digital technologies. These programs, presentation of the performing arts, cinema Latest news on pension plans for authors are new challenges for culture and creativity. programs at peak hours, and so on. To begin, we would like to see the new majors already Public funds should be used without restraint to enrich RENDEZVOUS p.20 Follow us on streaming artistic works at high speed from neighboring culture, this intangible treasure of humanity. Autumn-Winter festivals and live events countries into France to become partners, financiers There must be no resting on laurels. Authors must Twitter and distributors of European original works, in a manner remain vigilant in defending their rights, language CULTURAL ACTION p.22 @SACDParis comparable to national television channels and local and status, in France, Europe and internationally, in all SACD funding programs Video on Demand (VoD) platforms. We see no reason repertoires. Rest assured: at the SACD, we are actively why Europe should allow international corporations paying our part. No CONTENTS

autumn 2015 • LE MAGAZINE • SACD 3 forum “Facilitate the exploitation of works and make films Three cheers more accessible for creative freedom… to the general public.”

and unfettered distribution proof, one need only run a search via the search engine good use to encourage creation, artistic education and recently completed by the French Film Board (“CNC”): the performing arts. in a total base with 28,000 movies, only 12,000 French movies are available. And, in the audiovisual world, bya Pasc l Rogard, DIRECTOR GENERAL authors frequently find that their works are available Defending the French language nowhere at all. A more troubling aspect of the Bill however, is that The Artistic Creativity Draft Bill, sponsored by Fleur Pel- reunite us all. This is the role and the responsibility of some French films shot in a language other than nguerand E lerin, the French Minister of Culture and Communica- the state. The public authorities will always find in the French will be entitled to tax credits. This calls for vigi- tion, was always likely to show up late. If indeed at all. SACD a committed partner to defend that liberty which Improve the distribution of works lance. gence A

© © On tender hooks we waited. But now, at last, the Draft authors should enjoy. The action which we have been promoting for several part has blown away and the Bill was enacted by the The Bill – which has yet to be approved by the French years now has finally borne fruit. Keen to develop le- Naturally, movies requiring the use of a language other National Assembly upon first reading. Will it enjoy the Senate – does not simply assert these sacrosanct prin- gal offerings, and aware of the new opportunities of than French for the purposes of the script, and justifi- same legacy as the ground-breaking Authors’ Rights ciples. displaying works via digital services, the French leg- able for purely artistic reasons, should be entitled to a Bill sponsored by Jack Lang all of thirty years ago? islators finally accepted that the current obligations on tax credit. However, there is a real risk of widespread producers are insufficient if the distribution of works is abuse of these credits by producers hiding behind a Naturally, it’s far too early to say, but let us hope so, Convince…. Win over to be improved. smokescreen of artistic excuses, driven by economic because the Authors’ Rights Bill was unanimously In response to a request for opinion from the legisla- and financial considerations, and preferring to shoot adopted, and federated the approval of all legislators tors, the SACD responded with conviction and force, Under a new obligation of non-dormancy, producers in other languages, in particular English, solely for the around the themes of authors’ rights and their entitle- putting forward arguments to enrich the policy of the will have to prove that they have done their utmost for purpose of satisfying the commercial interests of in- ment to fair remuneration. If only the same thing were performing arts, and to ensure greater distribution the exploitation of films to which they own the rights. ternational partners. possible today! It was also a text of striking modernity and exploitation of audiovisual and cinematographic This is a major and positive development. It is essential that the Government and Parliament which left a legacy of some very useful measures for works. It is up to us now to rapidly engage in constructive dis- rapidly reassure authors that this will not be the case, creators and artistic creation, such as remuneration cussions with producers, television stations and pro- and that strong and sufficient measures be taken to for private copying, a source of liberty for the general In fact, it was in the light of our intervention that the viders of VoD services in order to define the concrete ensure that these tax credits are used as intended. public whilst respecting the rights of authors. legislators included, in the list of objectives and priori- implementation of this new obligation of exploitation. ties to be addressed by public policy in favor of the per- Naturally, we stand ready, as always, to defend the best The future of the support of the French language is In any case, it is clear that an official acknowledgment forming arts, the two major axes: support the creation interests of authors, their works, and the general public. not some harmless game whose outcome is of little of creative freedom is a welcome measure in these of original works in the French language, even if the import. It is first and foremost a political necessity, be- troubled times, where peaceful co-existence between absence of such an intention would have been incon- The legislators also heard our arguments, which we cause it is precisely those measures taken to support citizens as well as our ability to respect the Republi- gruous, and indeed outrageous, given that the emer- have been making since the signature of the Media original works in French which serve as proof, to the can Pact are subjected to daily trials and tribulations. gence of original works written in French should be a Chronology Agreement (“Accord sur la chronologie des European commission, of the legitimacy of the French It is neither a mere theoretical concern nor the fruit shared goal; and second, work more to ensure gender médias”) in 2009 (not signed by the SACD), and which, up policy to support its movie industry and the compli- of an over-ripe imagination to see coming a day when parity in the fields of artistic creation. In this latter re- to now, had come up against the stone wall of the inertia ance of this policy with European rules. Moreover, it is censorship closes its jaws on the freedom and entitle- gard, we don’t need any theory, and the data given in and the collective incapacity of sector professionals to a natural cultural ambition because the promotion of ment of authors and artists to express their talents the fourth issue of our brochure Où sont les femmes modernize woefully outdated distibution rules for mov- the French language must at all times serve to guide and share their world outlook. Indeed, many everyday (“Where are the women?) speak for themselves: 0% ies. The MPs voted in favor of limiting, to a maximum of our culture policy. current examples remind us that the creative process of National Theaters, 8% of National Dance Centers, 3 years, the ministerial ruling extending this agreement. As France prepares to celebrate the 30th birth of the is too fragile and too precious to let censorship – eco- and 26% of National Drama Centers are managed by This will act as an incentive for sector professionals to Authors’ Rights Bill and the 10th birthday of the UN- nomic or religious or political – take a hold and suf- a woman; 22% of theatre texts staged are written by review and improve the situation every 3 years, fingers ESCO Convention on Cultural Diversity, of which lin- focate our tradition of providing support to unfettered a woman. crossed of course that King Ubu doesn’t come out with guistic diversity is a powerful expression, it would be artistic freedom. a New and Improved Agreement!. both ironic and unacceptable if a measure intended to Facilitate the exploitation of works and make films Already however, another law is rising on the horizon, bolster tax credits for movies, were actually to danger- In promulgating the Artistic Creativity Bill, it was the more accessible to the general public: for years now, namely, the Finances Bill 2016, with its good news ously weaken support measures intended to promote intention of the government of France to confirm its we have been critical that France has been lagging be- and… (maybe) bad news. The increase of 2.7% in fund- the French language. role as protector of this creative freedom which must hind as regards the distribution of artistic works. As ing for culture is of course welcome and will be put to Not on our watch and not without a fight!

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Jack Ralite, former French minister, Ten years Coordinator of the General Assembly on Culture Speech given upon accepting the ‘Cultural Diversity Award 2011’ I remember a striking line delivered of cultural diversity. when voting the declaration of rights during a meeting of the General Assembly on Culture in November m l 1987: “If it ever comes to pass that vet

l the people care more about matters

And now what? ve © fi of business than the matters of their On 20 October 2005, in Paris, the UNESCO Convention on the Protection own imagination, they risk losing their freedom forever.” For if we do not fight, Raoul Peck, filmmaker CD and Promotion of the Diversity of Cultural Expressions was signed. it is certain that minding matters of SA

Speech given upon accepting the ‘Cultural business will trump matters of the anc/ A decade later, what has become of cultural diversity in these digital times? l Diversity Award 2012’ mind… This would be a disaster, an Review and opinions of authors. The main challenges to cultural diversity have absence of loyalty to a tradition that ierre Leb ierre P

remained unchanged over the decades: how needs all its friends to survive. © are we to ensure diversity in the arts, in all It all started in 2001 when UN- SCO's Director-General to prepare vention formally established the forms of culture when faced with ever more ESCO published its first Univer- the draft version of the Convention rights and obligations of States pervasive market forces? The steamroller of Radu Mihaileanu, filmmaker sal Declaration on Cultural Di- –, the negative consequences of a as regards cultural diversity, and commerce is omnipresent, leaving dead in its versity, followed four years later purely market logic were threefold: did so nationally (policies sup- wake all expressions of diversity, national and The idea of defending cultural of that person standing across when a General Conference of the imposition of a hegemonic cultural porting cultural diversity, freedom international. […] In times of crisis, it is to be diversity, the idea of enshrining from me. The UNESCO Convention UNESCO, meeting in Paris at its model, dismantling of public cul- to choose appropriate measures, expected that things get worse, and it is precisely cultural diversity in a universal enshrines in stone the absolute 33rd session, signed a Conven- tural policies, and unequal devel- reserved arenas for national artis- during such times that the men and women Convention now appears to me, with fact that the expression of the tion defining cultural diversity as opment of worldwide cultural ex- tic works, funding, role played by who can defend cultural diversity can be weaker. each passing day, as the events of our diversity of thought and of culture “the manifold ways in which the changes (North/South and Europe/ public service institutions and in- Attacks are to be expected. But as far as we are time unfold, a fundamental idea, and forms the root of the harmony, cultures of groups and societies USA). At the time, the goal was to dependent cultural industries) and concerned, there is no point in reasoning in terms certainly meriting, going forward, its the peaceful co-existence and find expression.” This cultural di- clearly assert that culture must internationally (international cul- of optimism or pessimism; a battle is brewing, place in the Universal Declaration the self-enrichment that I now versity “is made manifest not only “not be treated as solely having tural cooperation, information ex- bringing back memories of previous battles of Human Rights. Because this experience thanks to that person through the varied ways in which commercial value.” By signing, the changes, access to foreign artistic fought some twenty or thirty years ago. We must principle is the foundation stone of standing across from me. I firmly the cultural heritage of humanity is participating countries reaffirmed, works, development assistance). continue to fight these battles, at all levels. […] worldwide democracy, based on the believe that even in these times expressed, augmented and trans- in compliance with the Charter of As with all new technologies – and without for a respect of the deep-seated identity of ours, where it has become mitted through the variety of cul- the United Nations on the princi- Cultural diversity moment denying its manifold consequences – increasingly difficult to attain an tural expressions, but also through ples of international law, “the sov- and the digital revolution digital technology remains an instrument, at the objective analysis of events or an diverse modes of artistic creation, ereign right of States to maintain, Since its entry into force in 2007, the service of those who use it. There are as many understanding of the subjectivity production, dissemination, distri- adopt and implement policies and Convention has been signed by 138 dangers as there are opportunities. Unfortunately, of the person standing across bution and enjoyment, whatever measures that they deem appro- countries. Since then, each passing as is very often the case, societies are lagging from me, there are rights which the means and technologies used.“ priate for the protection and pro- year has shown that cultural diver- behind these new developments. This means that must be consecrated: namely, motion of the diversity of cultural sity is a work in progress, called on there are opportunities out there – yes, of this I countries are entitled to have their Why cultural diversity? expressions on their territory.” to permanently mutate in response am sure – but there are also several challenges own cultural policies, authors When signed, the purpose of the Thus enshrined in international to a changing environment. So the to be met in terms of creation, production are entitled to creative freedom, Convention was to release the law, the concept of ‘diversity of cul- question arises: how is cultural di- and dissemination. The advent of digital also people are entitled to enjoy access manifold “cultural expressions” tural expressions’ enabled States versity faring in these digital days represents an opportunity to re-shuffle the cards to culture, in its glorious diversity. from the yoke of the rules which to preserve their cultural policy set to the Internet hour? For, al- and hope for a better hand. To win this battle, we It is essential that we protect had up to then governed interna- (the cinema sector in France, for though the Convention does not need to be attentive, combative and unite with cultural diversity because it is tional commerce, namely, those example). explicitly contain the word “digital”, allies if we are to win this worldwide confrontation fragile, precarious, and essential. set by the World Trade Organiza- Above and beyond becoming an it does set out the principle of tech- where, unfortunately, not all sides are necessarily Our future and our children’s future tion (WTO). In the words of Jean essential reference text in the in- nological neutrality: the protec- on the same wavelength. depend on this. Musitelli* – entrusted by UNE- ternational legal spheres, the Con- tion of cultural expressions

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and works is indeed mentioned as sary than ever if we are to promote “whatever the means and technol- and protect cultural diversity, artis- ogies used” (article 4.1). The fact tic freedom and fair remuneration Thomas Ostermeier, remains however that digital tech- for original work. For Jean Musi- Theater director Authors’ rights nology has had several effects on telli, UNESCO is the most legiti- Extract of his speech given cultural diversity. And, whilst the mate body to work to these ends. upon accepting the ‘Cultural advent of digital has certainly ush- He suggested a number of ideas Diversity Award 2014’ ered in clear opportunities (see box and actions: get Member States on seen from Brussels below), the actual modus operandi board to deploy digital resources to “Recent political events of a digitally driven economy tends enrich the cultural offering, make pose a serious threat to to “neuter [these opportunities] culture more accessible and uni- creators of cultural content by Günther Oettinger, and make cultural content subser- versal; make digital a factor of con- and authors of artistic EU COMMISSIONER FOR DIGITAL ECONOMY vient to market interests. Either sideration in all negotiations and works. Negotiations for the the digital technology will be made international forums addressing proposed Transatlantic Trade During the Cannes film estivalF last May, a number to work for the common good by the regulation and governance of and Investment Partnership of filmmakers, including Bertrand Tavernier, Costa- appropriate cultural policies, or Internet and the protection of au- (TTIP) are currently being Gavras, Michel Hazanavicius, Abderrahmane Sissako, else its advantages will be hijacked thors’ right; encourage artists to held behind closed doors, and Volker Schlöndorff had a working lunch with by economic powers with no real embrace digital technology, both as and the little information Günther Oettinger, EU Commissioner for Digital interest in promoting cultural di- regards creation and dissemina- we have gives us cause Economy, in order to open constructive dialogue as versity”, analyzed Jean Musitelli tion; and reinforce digital solidarity for genuine concern. It would seem that, in its Brussels sets to work on a future reform of authors’ in the course of a presentation between peoples and nations. current form under discussion, the TTIP will rights in a digital world. made to UNESCO on 9 December lead to a deregulation of the economy, along the 2014, during which he added: “the These thoughts and proposals lines of the American model. And it is precisely Keen to continue this exchange, the SACD sent Mr phenomena of concentration, com- merit our full attention as the this deregulation which poses a threat to the Oettinger a number of questions: modification and standardization, UNESCO Convention on Cultural intellectual property of many artists. […] And - The announcement, by the European Commission already at work in the traditional Diversity celebrates a decade of with this, the selling of their products, generally of a pending and thorough reform of authors’ rights ommission européenne ommission

cultural industries will reemerge in existence. Let us remember that created under precarious conditions, would be in Europe has caused considerable concern amongst C the digital economy, only this time the future of cultural diversity will further endangered. The underlying doctrine is artists. How is this reform progressing? © unleashed with even more force.” depend on the real-world imple- simple: everything which, in any case, has already - What actions do you propose to protect works and The only way to survive in such an mentation of concrete ideas. been published, and which can therefore be made broaden their legal access to the general public?

environment is by means of rules * Councillor of State, permanent delegate of France available on the Internet, should be available at all - Do you plan to take measures to reinforce the we consider the recorded music industry, for example, and regulations, now more neces- at UNESCO from 1997 to 2002 times – without the authors being paid. entitlement for fair remuneration for authors in we see that its digital activities grew by almost 7% Broadly speaking, this is the scenario in Europe? in Europe in 2014. Consumer subscriptions to digital preparation on the horizon. Of course, by - Do you plan to take any measures to get the providers video services grew by almost 150% in 2013. Over eliminating the payment step, many artists would of new digital services and the GAFA to participate in 90% of medical, technical and scientific magazines Reasons for optimism and concern find themselves bereft of the material conditions the financing and dissemination of European creation? can be accessed online. And 84% of cultural heritage about the digital revolution they need to create. […] establishments have a digital collection. The economic crisis which many consider The complete response returned by Günther responsible for the political tensions currently Oettinger is given below, verbatim: Are the rules of European authors’ rights in step with Optimism Concern racking Europe, is in reality a political crisis. It is “The concept of authors’ rights has been protecting the these digital changes? The fact that we have different • A new palette of tools for authors to • Emergence of an economic model a political crisis because politicians have simply rights of authors, composers, artists, filmmakers and national rules means that our libraries, universities, create and disseminate their works focused on optimizing profits for abandoned their prerogatives to considerations creators in general for almost 300 years now. Under and researchers are not even sure to fully respect • Emergence of new artistic forms powerful intermediaries (dominant of business. Politics has been withered down this system, they receive recognition, payment and authors’ rights when using new technologies, such as (digital art, multimedia creation) position of GAFA) to the detriment to a technocratic skeleton, grappling madly to protection for their works. As things currently stand, data extraction or cross-border projects. Indeed, many • Emergence of new channels of of authors’ rights and content prevent the flight of the industrial capital of their authors’ rights play a role in supporting creativity of us encounter difficulties when we try to use online financing works producers respective countries. The absence of any vision in Europe, and in making sure that authors within content services based outside our home country. For • Expanded range of dematerialized • External private players not above and beyond this objective has resulted this system get paid. Industries associated with the example, a person living in the Netherlands who has cultural products for the general public bound by approved regulation and in a political world which one cannot seriously creation and production of works protected by authors’ subscribed to Netflix from his home will not be able • Extension of the lifetime of some financing mechanisms able to force respect. […] This is the background to which rights employ over 7 million Europeans and account to use the service nor watch the same movies and TV rare or fragile works (through online themselves on national markets I have currently taken up position as regards for 4% of GDP. shows when on holidays in France (where Netflix is existence) cultural diversity…” Few facets of our society and economy have been so available, but with a different catalog) or in Italy (where impacted by the digital revolution as the creative arts. If Netflix is not yet available).

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The rules governing authors’ rights in Europe should I am fully convinced that the modernization of authors’ be updated to correctly protect the creators and rights will engender new opportunities for consumers cultural industries in these digital days. These rules and for providers of online content services. It will also Showrunner, should also be reviewed to enhance access to culture, bring in new opportunities and generate new potential knowledge and education. This is why the Commission sources of earnings for authors as well as for investors has flagged the modernization of authors’ rights as a in creative content, by making their works more did you say? key item on its political agenda, as part of its plan for a available to more people. common digital market. I will be submitting a number of legal proposals to this effect in the near future. We are also looking at how we might get digital players Last March, Thalia Rebinsky and Séverine Jacquet, both scriptwriters to participate more in the funding ecosystem of Euro- In practice, what could these changes concern? pean creation. These operators do not yet contribute well established in France, flew to Los Angeles for a training course in My services are currently looking at how we might as much as the traditional players (television and cin- the fine art of the showrunner, thanks to the support of SACD. Feedback and harmonize exceptions to authors’ rights so that ema). In 2009, European Union broadcasters ploughed impressions from this exciting and enriching experience. by cAROline collard researchers, universities, schools and libraries can almost 33% of their revenue back into the production work without fear of breaching legislation when creating and acquisition of cinema and audiovisual works. But projects based on digital technologies, especially in the new market entrants, such as Netflix, Amazon What pushed you to take part in this course? the amazing feat of managing the complete chain from cross-border situations. We are Prime, Hulu, and Yahoo! are also Thalia Rebinsky (TR): For me, this was such an excit- creation to production, without actually managing a looking at how we can be sure starting to invest. For example, ing opportunity that I would have gone for it at any time production company. of giving European consumers Netflix intends to purchase almost during my professional career. As it happened how- a chance to enjoy the benefits of “A pragmatic $5 billion of programs (including ever, the timing was excellent! We were just finishing Concretely, what did the training course entail? digital services or online offerings original works) in 2016 as opposed writing season 2 of Nina, where, interestingly enough, TR: The training course itself consisted in two parts. that they purchased at home when and focused to $3.2 billion in 2014. Likewise, we were trying to work in the “American-style”, with The first part was a series of meetings, more or less accessing these from another Amazon has announced that it will writing workshops and so on. But this turned out to sized to the requirements of the course participant. country in Europe. This is what we modernization be reserving more than $100 mil- be difficult, we weren’t really sure where we were go- When you join the program, the first thing you do is call “cross-border portability.” lion for the 3rd quarter of 2015 to ing, we made mistakes. In any case, we were aware – explain where you’re coming from, professionally of authors’ rights” produce original works. along with Alain Robillard, co-creator, co-showrunner speaking, and what you expect from the course. So I We will also be looking into the of Nina – that it was time to start writing season 3. So, explained that I was working on a TV serial that took question of whether or not EU Under the Audiovisual Media as you can see, the training course came in just at the place in a hospital setting, where I was managing a rules relative to authors’ rights for Services Directive, the Member right time: it represented an opportunity to bring in team of writers, and that I was very interested in the television programs broadcast by satellite and cable States must ensure that broadcasters reserve most new tools to manage the writing process, to be more technical aspect of the trade, in seeing what exactly could apply to some forms of online distribution. We of their broadcasting time for European works. They efficient, both for ourselves as well as for the writ- a showrunner does, as seen from inside the writing want to reinforce the application of authors’ rights in must likewise ensure, by means of various promotion ers we work with, for example, by trying to minimize room. My main point of interest was learning new ways order to clamp down more on commercial piracy. In tools, that services on demand also feature European the constant to and fro of draft copies, which is tiring to work with writers and scripts. And so, in groups of fact, I would say that success in this domain is essential works. for them, and for us. I said to myself that the training three, we spent the whole week meeting people, with if we are to invest in innovation and create new jobs in course would improve my skills in selecting the writ- 4 to 5 meetings each day, all over Los Angeles, going the digital sector. Working from this basis, several Member States have ers, and in managing them once they have been hired. from writing rooms to studios to production compa- We will also be looking at the role played by brought in rules to oblige VoD providers disseminating It was an opportunity I didn’t want to miss. nies. We talked with some of the biggest TV show writ- intermediaries online to determine if the owners works on a given territory to contribute financially to ing teams, which was amazing! The second part in- of the rights, in particular authors, are sufficiently the production and purchasing of European works. As Séverine Jacquet (SJ): I wanted to find out what exact- volved meetings and discussions with the other course remunerated when protected content is used online. part of the updating of this directive, we will determine ly, concretely, a showrunner does on a daily basis. I had participants, all of which are highly experienced, top- whether or not these rules are suitable. read quite a lot of stuff, including the book Difficult Men level professionals in their own country. This was a The means used to ensure the fair remuneration by Brett Martin, about the showrunners-creators of TV unique opportunity to share knowledge and network. of creators must be taken into account in order to Our creative industries and our levels of creativity series as well as the Showrunner Code written by the encourage new works in the future. are amongst the most valuable assets we have here Canadian Guild, and I had also seen the documentary SJ: The training course took place over one intensive I am determined to achieve a fair balance between the in Europe. I want them to fully enjoy the benefits and Showrunners: The Art of Running a TV Show. But you week, during which we looked at all aspects of being numerous interests in play and to take into account opportunities offered by the digital revolution and the know, these are all “after the fact”, scripted in other a showrunner. In fact, no such position exists on the the specific features of the various sectors concerned, digital single market.” words! And for me, the important thing was to see a work contracts, and the official title, also given in the such as film production. My reform will consist in a real writer’s room, live as it were, in Los Angeles, with show credits is “Executive Producer”, and people just pragmatic and focused modernization of authors’ the working days, the famous pecking order between say “EP”. We had four meetings every day with show- rights. We will not be imposing pan-European licenses writers, with ideas in constant mutation on the boards. runners, as well as independent producers, studios on market players. I also wanted to understand how some writers pull off and broadcasters. We found their work to be for-

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midable, and we saw that there are actually different types of showrunners, and different skills are required depending on the show to create: serialized, procedural, general public, cable and so on. You have a bit of everything: the star-creators, “normal” creators and the foot soldiers. Each course participant was given the opportunity to sit in and watch several famous writers rooms in real-time.

What did you take away from the course? That has artin

changed your way of working? M TR: Based on what I saw in Los Angeles, we completely changed our way of working for season 3. On a purely ©Jean-Luc ©Jean-Luc technical level for example, I have changed the way I Séverine Jacquet Thalia Rebinsky managed the writing workshop. For season 2, the writers made their pitches, and then Alain and I prepared experience to manage production. For example, they way of working. Most of the writers on these two shows Writers Guild of America site. Then, you have issues the storylines, and these were then sent back to the might have written an excellent pilot, but they don’t take part in all steps along the chain, from writing to ed- of ego and power. Are the broadcasters and producers writers to be used as the backbone for the episodes. know how to manage writers, direct, or do postpro- iting, and are even involved in developing the advertis- ready to move aside and give so much spotlight to an This turned out to be very difficult. Even the most expe- duction. During shooting, the good showrunners send ing, the credits, and so on. One very exciting thing about all-powerful writer? This is a question to ask them. rienced writers found it difficult to become comfortable a scriptwriter to supervise the shooting of their own working in French-speaking part of Belgium – where with the storylines. In Los Angeles I saw that, in most episode. And, if the writer is not yet fully confirmed, the industrialization of TV shows is still in its infancy – is Do you think there is a place in France now for show- writing rooms, the writers developed them together. So they will team him up with a Supervising Producer. that they go right to the Writer-Conductor podium… It runners? this year, we’re going to get some of the writers involved This is light years away from what happens in France. must be the Northern Wind!. TR: This could only be the case if the channels and pro- at the storyline stage, and we expect this to make it eas- In America, the studios and independent producers ducers take the idea on board. In my personal experi- ier to write the episodes themselves. Another thing: the don’t see the showrunner as a threat; on the contrary, Do you think that all the “recipes” of American-style ence, given where I now am in my professional life, I can Nina episodes were rather difficult to structure because the showrunner alleviates their work burden by taking showrunning can be applied in France? What might be intervene as a showrunner because my producer is very of the close connection between the plots and the char- responsibility for loads of ordinary decisions that need the obstacles or the limits? much in touch with this facet of the business, and she acters. In the United States, practically all showrunners to be taken a hundred times each day. A showrunner TR: In the United States, show-running is closely con- accepts the idea of a type of power-sharing; she doesn’t do the treatments with the writers, which means that in America is roughly comparable to an artistic director nected to the writer-producer. Here in France, this is not feel threatened by collaboration. Nor indeed does the the writers can then write the treatment faster, and in France, but an artistic director with excellent script necessarily what everybody wants to do. To be a show- TV channel itself, which I find rather encouraging. On come back much sooner with an overall vision that is writing skills. runner as in America requires experience, a lot of ex- Nina, everybody knows that if the writers aren’t happy, satisfactory for all involved. They can then go back to Lastly, if the showrunner is himself a director, he won’t pertise in all aspects of creation and production. This then the end results might not be so good. But I have writing the dialogs with a very solid basis. This really be able to direct all the episodes of the series, because is something which has to be learned, which can only had other, less positive experiences, and moreover, I cuts down on the writing time. his main job is to write texts and do the editing. This be acquired with years of experience, and is not to be know that other writers are a long way away from any- means that he will have to direct directors. And there improvised. In France, my impression is that, in many thing approaching showrunning. You need to be lucky to SJ: You don’t become a showrunner overnight; it’s a is a risk of the director seeing the showrunner as hold- cases, you have two people working together, one more work in a place where the writer is fully appreciated and status that comes with experience. It’s a combination of ing him back. But a good showrunner delegates; it’s his focused on writing and the other on production. made a complete part of the creative process. Overall I the scriptwriter-star and the manager which requires a only option. And for a director, the real career break is would however say that things are changing and, little solid knowledge of the production chain; but the heart to be chosen to direct the pilot episode of a major show: SJ: Yes, but the main “recipe” is to work nonstop, to by little, here in France we are beginning to understand of a TV series is the script!! This is good to hear! “Au- if the American broadcaster has invested $10 million in know how to organize things, and stay resolutely fo- that the writer must be at the heart of the show. During thor is King”, so say the producers themselves! Above the pilot, then the director knows that he can work in cused on deadlines. The negative of being a showrun- the course, I discovered the concept of “non-threatening all, you can train to become a showrunner. During this comfort and experiment on a major scale. ner is that it eats up all your time and energy… for at collaboration”, notably as regards the relationship be- course, one opinion in particular struck me: “It may well At the same time as the training course, I was super- least a year and a half. You need to have broad shoulders tween the creators of a TV series and the writers. Eve- seem impossible to go from being a writer to being a vising the writing of a new series of ten 52-minute epi- for this job. And not all of our best writers necessarily rybody wants the show to hold together, and to be suc- showrunner. By definition, the writer is a solitary, dark sodes for the ‘Une’, the main RTBF channel. I have now want to put on this titanium suit, even if underneath they cessful. This is an excellent idea, to be applied in France! person, racked with doubts. And this same person has become Head of Fiction. Since the course, more than are wearing a trendy sweater and Converse sneakers! now to become sociable, nice, reassuring. This is where ever, we make sure that the development phase is re- Some authors simply prefer having the option of just SJ: Yes, absolutely. A top-tier mini-series does not nec- training comes in. And it’s possible. But not for every- spected, and grant even more importance to correctly hanging out… That’s also part of being a writer! essarily require this quasi-military organization, but a body.” choosing the main people in the writing team. As it turns As regards potential obstacles, I would say that the first show which is intended to go on for several years with 6, More concretely now, we also saw that the showrunner out, the first two series already completed, namely La one is financial. In Los Angeles, the compensation paid 8 or even 24 episodes really does need a gifted overseer, does not have to be the original creator of the show. In Trêve and Ennemi Public already do have showrunners, to showrunners and writers is not even a matter of dis- with the talent to ensure the artistic quality of the show fact, this is often the case; not all creators have enough multi-functional, and also very team-oriented in their cussion. Just look at the Schedule of Minimums on the and respect the deadlines.

12 SACD • LE MAGAZINE • autumn 2015 autumn 2015 • LE MAGAZINE • SACD 13 interview

Jean-Paul Rappeneau “The story drives me to make the movie”

Winner of the SACD Grand Prix in 2015, Jean-Paul Rappeneau has just released Belle Familles, his eighth movie. How does he organize his writing and directing marked by the idea of movement? interview by caroline collard

You haven’t made many movies… Is this because you imaginary extracts, situations, and so on. Then, once I feel need a lot of time to write or is it because it’s not so that something is happening that could lead to a movie, I n photographers n easy to find a story that’s worth doing? keep writing and drawing, but I also start talking with oth- l © © It’s true that I never have my next movie already wait- ers. With one or several co-scriptwriters. We mull things ing in the wings. I get so involved in each of my mov- over, bounce ideas off each other, talk a lot. Then, there where he found himself caught between two women. movement in the rhythm of the words, something akin ies, it takes so long to develop, prepare and produce comes a point where it’s time to start to write. And then, it’s As I went back over my notes, I had this feeling that to a state of grace, I’m not happy! Nothing upsets me them… Each movie is like a long-distance trip, I go to me holding the pen! it could work… I shared the idea with some friends, more than the state of stasis! I can’t just sit back and the river bank and get on board, the ship leaves, the and very quickly a couple of working ideas emerged. wait for things to happen… My personal life is relatively movie meets its viewers, and I don’t know where the Is this the moment you prefer? It wasn’t all for nothing, it was about time that I make calm, but on set, I’m constantly fired up!… This is why I next trip will take me. I must say I do like coming back here, after weeks of a movie about the house where I spent my childhood, look like a castaway on a beach when the movie is over. A movie comes out of nowhere, from a blank page, even talking things over with others, once again alone, and the house where I lived for seventeen years. Really, it For Cyrano de Bergerac, I was the ship’s captain, the though, in reality, you’re not totally empty-handed be- starting to really write. This is a really special time for was the end result of a kind of underground explora- actors’ psychoanalyst, and the General of the Hungar- cause little by little things start to happen. Kubrick said me… You can spend weeks and weeks looking in vain tion which had been underway for many years. In any ian army!… Directing a movie is like doing several jobs that the most difficult part of the moviemaking process and then, as Jacques Audiard joyfully recounts, “Sud- case, I felt a vital need to relive these emotions. at the same time. was not the shooting, nor the writing nor the editing… denly one day you see the Virgin Mary!” And then sud- the most difficult thing is to find a story that’s worth denly, you see the film, or at least partially. I find myself Then comes the directing… Career highlights telling! The story drives me to make the movie; it has to saying “Well now, that might not be so bad at all!…”. Yes, once the “literary” work is done, the pictures start become my life! It’s almost a question of life or death. The clouds dissipate at last and you see that yes, there to emerge quickly. We start drawing, lots of drawings. You know, I remember my children, when they were is a movie there, waiting for me! All this work lead to The work also becomes more technical, the shooting 1960: Assistant and screenwriter with Louis Malle on Zazie in the Metro younger, used to get a bit upset when I was filming, something which, at the end of the day, has no weight; list, very important for me. I worked here, in my office, 1966: A Matter of Resistance, first feature length, winner of the they told me that I used to go “crazy”! Which clashed at least that’s what I hope. It takes long hours and in- with my continuity supervisor, Chantal Pernecker, who Louis-Delluc award completely with the image they had of me the rest of tense effort to attain lightness. I like a lot. She sits across from me, with the com- 1971 : The Married Couple of the Year Two, co-written with the time! For me, a movie begins in my own company, puter. Around us the walls are covered with photos of Daniel Boulanger, Maurice Clavel and Claude Sautet just by myself, with an idea, a dream, and a few years How did you and Philippe Le Guay end up working on the shooting locations and the actors. And I play out 1975: Le Sauvage, co-written with Jean-Loup Dabadie and Élisabeth later, when the shooting starts, you find yourself head- Belles Familles? all the scenes before her. I improvise the movements, Rappeneau ing up an army! We originally started working on a movie project which and together, we build the shooting list. This can only 1991: Cyrano de Bergerac, César Award for Best Film, Golden Globe went nowhere in the end because the money wasn’t happen once the locations have been finalized. I need Award for Best Foreign Language Film How do you approach the writing? You have co-written there!… So, I went back to work on something that was to be able to imagine the actors as they move around 1995: The Horseman on the Roof, co-written with Jean-Claude Carrière most of your movies, with some of the best writers easier to get done, in this case Belles Familles. And the locations. and Nina Companeez, based on the novel by Jean Giono moreover (Jean-Claude Carrière, Patrick Modiano, Philippe and I wanted to keep writing together, along 2003: Bon voyage, co-written with Gilles Marchand, Patrick Modiano, Jean-Loup Dabadie…). with Julien, my son (also a screenwriter who recently Once the shooting starts, do you forget the scriptwriter? Julien Rappeneau and Jérôme Tonnerre Once the previous movie is done and dusted, comes a new directed his first feature, Rosalie Blum). I went back On set, I pay a great deal of attention to movement 2015: Belles familles, co-written with Philippe Le Guay and time for thought, when I look for new ideas, I go to my office over my notebooks, and came across this idea of a and positive tension. Unless I see movement, a kind of Julien Rappeneau almost every day, and fill up complete notebooks: ideas, family house, with a man coming back to this house, “choreography” between the actors and the camera,

14 SACD • LE MAGAZINE • autumn 2015 autumn 2015 • LE MAGAZINE • SACD 15 PARITY

Where are the women? 2015, key figures

SaiS on 2015 / 2016 Issue 4 4 ème édition of National Theaters The SACD, in partnership with Movement HF, Laboratoire de 0% are managed by a woman l’égalité and Deuxième Regard, has just published the fourth issue of of programmed contemporary musical works its brochure Où sont les femmes?, dedicated to parity in the cultural Théâtre Danse Musique Cinéma Télévision 4% are composed by women sectors. Unfortunately, the figures speak for themselves. of concerts or operas 4% are conducted by women Although much has been said over upon enrollment in the academies choreographers programmed has the past few years regarding the (“conservatoires”) and the almost increased (39%) but the number of of National Dance Centers need to strive for parity in the per- complete absence of women ac- dance centers managed by women 8% are managed or co-managed by women forming arts and the audiovisual tually getting a chance to ply their has fallen: 30% for National Dance sectors, it would seem that pre- talents upon graduation: 1% of Centers in 2012, falling to 14% in of opera houses cious little has been done, except composers and 4% of conductors! 2014 and… just 8% in 2015 (this 15 % are managed by a woman for some modicum of progress corresponds to two managers, of pushed through by the Bill of 4 In theater likewise, a couple of key which one is a co-manager). Lastly, of works of fiction broadcast on television August 2014 to ensure “real parity figures suffice to get a clear idea in the audiovisual sectors, there 17 % are directed by women between women and men.” Data of the gender disparities: at the is a movement towards parity as collated over 4 years reveal spo- moment, in France, no National regards scriptwriters but the situ- difference in earnings between men and women in the cultural radic cases of improvement with- Theatre is managed by a woman ation remains unchanged and re- 19 % sector, all professions aggregated (with men earning more) out however any overall, stable and (two national theaters were headed grettable for female directors, even definitive trend towards parity. up by a woman in 2014), and, in a though parity is respected upon of movies released in cinemas more general manner, female art- student enrollment. 20% are directed or co-directed by women in France The music sector gives us the most ists are poorly represented. On a flagrant example of gender dis- brighter note, some venues have Faced with this uneven progress, of texts performed on stage parity and conservatism. The situ- made determined efforts to en- unsatisfactory on the whole, the 22% are written by women ation is truly alarming, and one is courage parity. For example, the SACD believes that targets should “Even in the arts, necessarily struck by the contrast Théâtre National de Strasbourg be set (see box below) and that of live events between the mandatory parity has insisted upon parity as regards there should be an obligation to 26% are directed by women where we imagine associate artists (3 female direc- regularly publish parity data in in- that women would have tors, 5 actresses, 2 female authors) stitutions. We would urge closer of National and Regional Drama Centers The SACD parity proposal even though this data was not part concertation between the Ministry 26% are managed or co-managed by a woman their natural place, of the analysis detailed in the bro- of Culture and local collectivities in The SACD believes that collecting data is not enough and chure. On a similar positive note, appointing the people to head up of National Theaters the reality is that they wants to take action by setting quantified targets. In order one cannot but applaud the excel- cultural venues. These levers for 27% are managed by a woman have to fight nonstop to boost the work already undertaken by the public autho- lent initiative taken by the Comédie improvement will however only re- rities to encourage gender parity, the SACD would like to de Béthune, managed by Cécile ally be efficient if professionals and of instrument soloists to even get in the door.” see immediate change and is asking the cultural sectors to Backès, whose program consists the public powers alike truly take % are women 28 Chantal Jouanno ensure that the share of women, on the artistic and mana- in 53% of female authors, building action to obtain real results and re- President of the Delegation for Women’s Rights gement fronts, increase by 5% per year, in each sector for on the positive measures of last duce inequalities between women of works of fiction broadcast on television and Equal Opportunity at the French Senate three years. This gender parity progress index of 15% to be year (52%). and men. 29% are written by women reached by the 2018/2019 season would have the effect of dispelling the current curse of female invisibility in the arts. In the dance world, the situation is rather varied: the number of female * Available at the site www.sacd.fr

16 SACD • LE MAGAZINE • autumn 2015 autumn 2015 • LE MAGAZINE • SACD 17 TRAINING social

The cinema of the future Latest news on can also be found in Lyons pension plans for authors

A new film school has just opened in the capital in their sector, most likely in Paris, sit the exam: “Some people don’t A reform is currently underway regarding the compulsory additional pension plan for of Gaul. The main goal of CinéFabrique is to bring since the capital accounts for over believe that they could pass the en- authors. The goal of this reform is to introduce a contribution rate proportional diversity into cinema, thanks to its regional location, 80% of the French cinema business. trance exam for an art school; we to earnings, for the dual purpose of complying with European regulations in the matter student-selection process and teaching style. Indeed, it was with a view to going want to show them that they can” while simultaneously improving the level of coverage. A review of the provisions voted against excessive centralization of explains Claude Mouriéras. A spe- by the RAAP and IRCEC Board of Directors on 24 September, to come into effect once the cinema industry that CinéFab- cial preparation class has been set the decrees are published. Thanks to the Lumière film school rique set up in Lyons, well away up with a capacity of about twenty as well as the Rhône Alpes Studios, from Paris, already packed with students selected due to their aca- Over a period of 8 months, the Re- spond to the gross amounts of roy- ary 2016, and the reform will enter Lyons already had the top-notch training courses, highly selective demic under-performance, with gime des Artists Authors Profes- alties generated by authors’ rights into effect in 2017, based on earn- equipment to respect the cinema of public schools requiring at least 2 a special focus on students from sionals (Regime of Professional (AGESSA and Maison des Auteurs) ings for 2016. In order to avoid un- the past while creating the movies years of third-level studies, and pri- Rillieux-la-Pape and Vaulx-en-Ve- Authors or “RAAP”, managed by or net earnings, whichever is ap- pleasant surprises due to paying, of the future. In fact, the only thing vate schools with excessive fees. lin, both of which have a reputation the IRCEC) consulted with over two plicable. in 2017, contributions which the that was missing was a breeding “CinéFabrique came about because as being difficult areas. This is why dozen sector bodies, guilds, and member would normally have paid ground to make the movies of the a number of sector professionals CinéFabrique chose to run special societies of authors (including the At what rate do RAAP participants in 2016, the SACD is looking at how future become a reality. This is now wanted to open the cinema busi- workshops with young people from SACD) in relation to the pension re- contribute to the plan? these contributions might be with- possible thanks to CinéFabrique. ness to people coming from differ- these areas to raise their aware- form, which needed to be brought The full RAAP contribution rate will held at source from the partici- Last September, CinéFabrique, ap- ent places, explained Claude Mour- ness as to the possibilities offered in for two reasons: firstly, the goal be 8%. However, participants earn- pant’s earnings. proved by the state of France as iéras, who heads up the school. by the cinema sector. was to make sure that pension ing less than €25,731 (that is to say a third-level educational Institute Working in the cinema in France de- However, there is naturally no point plan participants get a fairer deal 3 times the membership thresh- Will the 8% rate be applied pro- (“École Nationale Supérieure”) pends too much on who you know. in naïvely underestimating the dif- upon becoming eligible (current old) from artistic activities, will be gressively? opened its doors. The first year con- We need to bring in people from ficulty of finding work in a sector data indicates that the average entitled to request a reduced rate The contribution rate for authors sists in a common core introduc- outside this cozy world, people who which, like so many others, has pension top-up paid by the RAAP of 4%. (who will eventually have to con- ing students to cinema techniques. can tell us new stories, seen from undergone difficult times over re- is just €1,500 per year, owing to tribute at a rate of 8%) will rise Starting from the second year, the original angles, with characters we cent years. First and foremost, the fact that 80% of RAAP partici- How about authors already con- gradually between 2017 and 2020; students choose one of the five spe- haven’t met before…”. The tuition CinéFabrique is looking for young pants choose to pay into the low- tributing to the RACD (Additional it will start at 5% in 2017 on the cialist streams: scriptwriting, cam- fees charged by CinéFabrique never people driven by a passion. Indeed, est optional category, completely Regime for Authors and Compos- earnings of 2016… And will gradu- era and lighting, sound, editing, or exceed €100 per year, just like the as Mr Mouriéras makes clear, “For at variance with their actual earn- ers in the Cinema, Audiovisual and ally reach 8% in 2020. production. Lastly, for the third and prestigious Fémis and Louis Lumi- us, allowing new writing styles to ings); secondly, the pension plan Performing Arts) – will they have As regards the RACD, playwrights final year, the students take part in ère film schools. And, of the thirty emerge is not just a question of had to be made compliant with a special contribution rate? will contribute to the RAAP at a re- a work-study program specialized students enrolled, twelve have re- technique. Our selection process European regulations in the mat- In order to allow for the special duced rate of 4% once the reform ceived grants. CinéFabrique puts clearly shows that we are looking ter. These roundtable discussions case of authors already contribut- enters into effect. great stock in its student-selection for artistic profiles.” Indeed, the made it clear to all that it was time ing to an additional pension plan process to ensure a wide range of sector professionals who will be to bring in the reform; namely, (RACD or RACL), a reduced contri- Will the current regime, with its student profiles. teaching, such as Laurent Cantet, make the contribution rate propor- bution rate will be applied. contribution categories, be imme- Marcia Romano and Abderrahmane tional to earnings. A review now of Specifically, participants in the diately discontinued? Open selection process Sissako (another highly commit- the forthcoming changes in six key RACD will contribute to the RAAP No. Any participants who, up to Nationals of all countries can sit ted member of the teaching staff questions: at a reduced rate of 4% (instead 31 December 2015, have chosen the CinéFabrique entrance exam. and President of the school) won’t of 8%) on the basis of earnings one of the 5 contribution catego- Nominally reserved for people aged be disagreeing. The SACD likewise already subject for contribution to ries, can keep this option and the between 18 and 25, it is also open, embraces this refreshing attitude, Who contributes to the RAAP? this regime. related entitlements for a transi- subject to special exemption, to and was one of the earliest support- Authors who earned, in the course tion period of 10 years if the appli- people who never qualified from ers of the project. Of particular note of a given year, as a professional When will the reform come into cation of a full rate or of a reduced second-level education. The Ciné- is the “Rue du 1er film”, just a few writer, at least €8,577 (in 2015). place? rate would lead to that participant Fabrique management team also blocks away from CinéFabrique. This is considered the ‘member- It depends on when the texts are paying a smaller contribution and, works with young people experi- ship threshold’ for the RAAP. The published in the official journals. therefore, receiving a smaller pen- encing difficulties in their school to Guillaume Regourd earnings taken into account corre- At the earliest, this will be 1 Janu- sion payment from the RAAP.

18 SACD • LE MAGAZINE • autumn 2015 autumn 2015 • LE MAGAZINE • SACD 19 RENDEZVOUS RENDEZVOUS

festivals shows

november december january november january estu (1556) estu T i ll aume Le Le aume chior l errer ll e F eccare ui M B G : : arine arine arte rédéric rédéric ntoine ntoine F M C A

Festival Focus at Théâtre L YonS BRUZ ANIMATED “COURTS DEVANT” PREMIERS PLANS Eugénie Monkey money K yoto forever 2 N o(s)révolution(s) Leyg vo a e de CinéBanlieue Ouvert - F.T.O#2 PLAYWRIGHTS DAY MOVIE FESTIVAL SHORT FILM FESTIVAL FESTIVAL IN ANGERS Sarah and Sam This new play, written They’ve got just Four actors (German, Cornelius For ten years now, Continuing on from In preparing this 26th Designed to The goal of this The goal of this want children. After by Carole Thibaut 2 hours today to French and Portu- In a theater Cinébanlieue has previous similar Lyons Playwrights showcase French festival is to promote European first film several fruitless uses the science save tomorrow. In guese) recount their influenced by become the special events organized Day, no fewer than 473 talent in animated young moviemakers festival is to discover attempts spanning fiction genre to depict conjunction with the memories of revo- Oriental artistic festival for films by Théâtre Ouvert texts were received, movies, by way from all countries new European several years, Sarah an imaginary society UN Climate Change lution and explore styles, the theater taking place in in Paris, this year’s read, reread, anno- of competitions (regional, nationwide, directors. Each finally manages to of two walls, with the Conference 2015 to the possibilities for director Véronique suburbs worldwide, F.T.O#2 focuses tated and intensely and nationwide international) by year, over 100 first get pregnant thanks Rich World on one be held in Paris, a revolution today. Samakh has drawn challenging viewers on comparing and discussed. The five selections, this programming and second feature to modern medicine. side and the Poor cast of 8 international When devising the inspiration from to see the suburbs in contrasting writing successful submis- festival features short movies. The films, first short The doctor however World on the other. actors have agreed play, Anne Monfort Secret d’Orbae, a new light, no longer styles, in terms sions will be published short and feature- SACD supports films or student warns them that After several months to perform plane- teamed up with recounting a as just wastelands of their demands by festival partners length animation the animation films produced the pregnancy could of interviews with tary political theater, two actors, Ulrike journey of initiation of destruction and their diversity. (Éditions Théâtrales, movies, meetings film program and in Europe are mean complications executive employees a performance hot Syha (Germany) and written by François and tension, but Original texts from Lansman, Actes Sud, with writers, meetings with web selected. In addition for Eugénie, the in major companies, off the cuff, with and Mickael de Oliveira Place (author and rather as sources writers, playwrights L’Espace d’un ins- previews, workshops, artists. to supporting the name chosen by the and people in for engaged citizens, (Portugal). It turns illustrator of books of inspiration and and poets will be tant, etc.) and will be master-classes and From 10 to 18 December, program, the SACD parents for their financial distress but entertaining all out that some for young people) to artistic development. read or walked entrusted to profes- more. The SACD Paris (Cinéma des is also a partner to high-risk embryo. due to excessive the same. The Kyoto political concepts an original musical In addition to the through by directors, sional companies supports the festival cinéastes, Studio 28, public readings of The play explores the personal debt, Carole Protocol didn’t live up quite simply cannot score by Bertrand competing films, actors or the who will perform free, program, and also Pathé Wepler). 5 features read out by mental projections wrote and directed to expectations. The be transposed. Thus, Maillot. Across the the festival has writers themselves. public walk-throughs. sponsors an award www.courtsdevant.com professional actors. of the couple. Their this play which issues at stake are this “untranslatable” seas and the lands given a free rein to Participants include This year, special for the Best Final Of special interest to wacky notions, she describes as a critical. In this ima- aspect as well as the the two travelers go, Reda Kateb, this Jacques Albert, tribute will be paid to Year Film. In addition, young screenwriters racking fears and “phantasmagoric ginary theater of the translation process thirsty for freedom year’s patron. The Rémy Barché, Michel Corvin (27 Nov. this year will have will be a special heroic desires plunge into the heart world, the future of the itself became stage as they embark on SACD, a partner, Sophie Cattani, at 5 PM) at the École a special event for event on 24 January come together of a society where planet is between the material in its own a epic journey to the decided to create Clara Chabalier, Normale Supérieure young writers getting to help young writers in this striking market forces reign hands of experts. The right. The play will be origin of the world. a Prize – reserved Marie Darrieussecq, (ENS). And, in par- to grips with their get to grips with their account. Written and supreme.” The play author and director performed in France, The play received for the competing Simon Delétang, tnership with the first contract (“Zoom first contract (“Zoom directed by Côme de received financial Frédéric Ferrer goes Germany and Portu- financial support films awarded by Eugen Jebeleanu, Lyons Municipal Libra- sur mon premier sur mon premier Bellescize, the play support from the behind the scenes gal, in three slightly from the SACD the Festival jury, Odja Llorca, Nicolas ry, as well as the Vaise contrat”). contrat”). received funding SACD Theater Fund. of the Conference of different versions, Performing Arts presided this year by Maury, Grégoire Media Library, there From 7 to 13 December, From 22 to 31 January, from the SACD From 12 to 22 November, the century. The play with the three lan- Music Fund. Mohamed Hamidi. Monsaingeon, will also be a special Bruz-Rennes métropole. Angers. Theater Fund and the L’Idéal, Tourcoing (CDN received financial sup- guages ricocheting From 6 to 9 January, From 12 to 21 November, Mathieu Montanier, event exclusively dedi- www.festival-film- www.premiersplans.org SACD Performing Lille Tourcoing Nord-pas port from the SACD on stage. The play Théâtre de Saint-Quentin at the Écran cinema Stanislas Nordey, cated to books about animation.fr Arts Music Fund de Calais). Theater Fund. received financial en Yvelines (Montigny-le- (Saint-Denis) Antoine Oppenheim, the theater, for adults composed by Yannick Tour scheduled. From 17 Nov. to 6 Dec., support from the Bretonneux - 78). and other cinemas. Maëlys Ricordeau, and children alike (28 Paget. Maison des Métallos SACD Theater Fund. www.cinebanlieue.org Yann Verburgh, November from 10 AM Premier on 4 November: (Paris). 24 Nov., Ferme du From 5 to 8 January Michel Vinaver... to 6 PM at the Vaise Théâtre de Rungis, Buisson Scène nationale Le Granit (Scène nationale From 16 to 21 November, Media Library). From 13 Nov. to 13 Dec., (Marne-la-Vallée). 8 Dec., de Belfort) Théâtre Ouvert, Paris. From 26 to 28 November, Théâtre du Rond-Point Théâtre de l’Agora (Scène Tour scheduled. www.theatre-ouvert.com Vaise Media Library (Paris). nationale d’Évry). 11 and and ENS of Lyons. Tour scheduled. 12 Dec. (Scène nationale www.auteursdetheatre.org de Sénart)

20 SACD • LE MAGAZINE • autumn 2015 autumn 2015 • LE MAGAZINE • SACD 21 CULTURAL ACTION

SACD funding programs The SACD operates a number of funding programs to support cultural activities all year round.

PERFORMING ARTS MUSIC FUND STREET ARTS FUND In 2007, the SACD launched a fund to support the writ- Since 2006, the SACD has been supporting the “Auteurs ing of music scores intended to be used with theater d’Espaces” initiative, in partnership with a number of plays, choreographies, circus acts or street art perfor- cultural venues and associations. mances. The purpose of this initiative is to present a selection The purpose of this fund is to overcome the difficulties of original works in the “Street arts”. The works encountered by producing companies when commis- themselves can be textual or non-textual, they can sioning a composer to write an original work in these be intended for performance in a fixed setting or they performing arts. Indeed, existing music is frequently can be mobile, on condition that they lend themselves preferred to original scores, and the budgets available inherently to street performance, and that they be for new musical compositions are constantly shrink- written accordingly. ing, which obviously complicates matters significantly This year, a jury selected 9 original projects (out of for composers. The purpose of the SACD Perform- 61 submissions in total), with 2 projects combining ing Arts Music Fund is to encourage original scores. a street-art style of writing with interactive creation. Concretely, a maximum of €5,000 can be granted per Winners receive funding for writing and production project. The funds are paid to the production company (€5,000 and €7,000 for projects combining writing for upon submitting an order form commissioning a new the Street arts and multi-media) and are performed at score, as well as proof of payment to the composer(s). least twice in one of the three partner festivals.

Application schedule: from 15 Jan. to 15 Feb. 2016 Application schedule: up to 18 December 2015

Submit your funding application online (SACD and Beaumarchais-SACD Association): http://soutiens.beaumarchais.sacd.fr.

Authors’ magazine SACD No. 172• Autumn 2015 11 bis, rue Ballu - 75442 Paris cedex 09 Delegate directors: [email protected] Stéphanie Aubin (dance) Responsible Editor: Tél. : 01 40 23 44 55 Frédéric Fort (street arts) Pascal Rogard Sophie Loubière (radio) Board of directors Pascal Mirleau (animation) Chief Editor: 2015-2016 Stéphane Piera (interactive creation) Catherine Vincent President: Jean-Philippe Robin (animation) Sophie Deschamps Alain Sachs (stage direction) Editorial coordination Jérôme Thomas (circus arts) Caroline Collard First vice-president: Louise Doutreligne Directors: Graphic design: Jean Becker, Luc Dionne, Marc-Olivier Dimaj Studio Vice-presidents: Dupin, Jacques Fansten, Jean-Paul Farré, Denise Chalem (theatre) Victor Haïm, Philippe Hersant, Gérard Printed by Escourbiac (Graulhet) Sylvie Coquart-Morel (television) Krawczyk, Pascal Lainé, Christine Laurent, Louis Dunoyer de Segonzac (music) Laurent Lévy, Christine Miller, Jean-Louis Cover photo: Michel Favart (television) Lorenzi, Inès Rabadàn, François Rollin, Le Goff & Gabarra Bertrand Tavernier (cinema) Marie-Pierre Thomas.

22 SACD • LE MAGAZINE • autumn 2015 FIGHTING f o r CREATORS www.sacd.fr

Complete information at www.sacd.fr

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