Film Institute CEO Charles Rivkin said Stan, the organization’s European chief, attended a panel on the economic impact of film and television production in the United States and Italy, hosted by the Italian Film Department. I attended the Venice Film Festival with McCoy. Ministry of Culture.
they talked variety On the ever-closer relationship between Hollywood and Europe.
Over the past few years, we’ve seen more and more American films coming to Europe due to the pandemic. Is MPA that good?
Rivkin: There is no doubt that more production is taking place in Europe. That’s because Europe is a great place to make films, and because we’ve partnered (and historically) with European creators since the founding of the Society.
But I wanted to add a point. In a way, the pandemic has accelerated the globalization of the industry because we do film, television and streaming in film associations. When I was a kid, I spoke French and was the U.S. Ambassador to France, but I rarely watched French TV in the U.S., but now I watch series like Lupine on Netflix and Call My Agent”, Israeli shows like “Fauda” playing in the US and Spanish series like “Money Heist” playing seamlessly in the US. Americans have historically hated subtitles. not anymore.
So I think it’s always been an international industry for us, but the pandemic has really highlighted that fact in some ways, both in physical production and in content delivery. is.
The European AVMS Directive, which aims to drive new rules for engagement between producers and streaming giants, is in various stages of implementation across Europe. What is MPA’s opinion?
McCoy: I think it’s important to keep in mind that, broadly speaking, the AVMS directive is not strict on these issues. A lot of flexibility is left for individual EU Member States to pursue balanced policy choices. And it is important for us, broadly speaking, to encourage Member States to introduce flexible, balanced and predictable rules. If you want to encourage investment, you need predictable rules, and those rules need to be rational and flexible. And a very important principle in European regulation is that regulation should be proportionate to its purpose. Broadly speaking, this is what we are looking for across Member States. This applies to investment requirements, but I think it also applies to issues such as IP ownership.
How is the MPA’s ongoing anti-piracy efforts in Europe?
Rivkin: A few years ago, the MPA is really proud to have created ACE, which stands for Alliance for Creativity and Entertainment. ACE currently has more than 40 companies from all over the world. Anchor companies in the US are six of his MPA members and Amazon Prime, and Apple TV Plus. On top of that, France has Canal Plus. There is a German Constantine film. you have the BBC We have players in Latin America and Asia.
This is the most powerful global force against piracy ever assembled. And what’s different from what we’ve done in the past is that we have very close relationships with law enforcement agencies around the world. increase. Outside the United States, however, he received the highest civilian honor award from the Spanish National Police for his efforts in fighting piracy in Spain, on behalf of the Motion Picture Association.
We likewise partner with authorities, legal and police in Italy, Germany, the UK and all major markets.
Film Institute CEO Charles Rivkin talks about Hollywood’s growing ties with Europe, first published in The Media Pub News.