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The Hong Kong-Europe-Asia Film Cooperation Funding Plan, which launches in Berlin this week, is intended as a key element of Hong Kong’s film industry recovery and internationalization efforts.
In an unprecedented move, the territory’s Film Development Council is prepared to award cash grants to film projects that do not necessarily have to be shot in the city or use one of the three official languages. We are promoting.
In the 1970s, ’80s and ’90s, Hong Kong produced more than 300 films a year for local, regional and international consumption, creating stars such as Bruce Lee, Jackie Chan, Jet Li and Michelle Yeoh. But in the 21st century, it has been downsized and recalibrated. Hong Kong production system.
For much of the past two decades, the city has been a major hub for advanced technology that paralleled and supplied mainland Chinese industry, at a time when China’s economy was rapidly expanding and film consumption was soaring. It was operated as a small system with
FDC Chairman Dr Wilfred Wong explains that the European Fund represents a new strategic direction for Hong Kong.
“In the past, when Hong Kong produced a huge number of films, it was truly ‘Made in Hong Kong,'” says Wong. “What we are seeing now is that we have so much talent and so much of it is working in different places. For example, many of Hong Kong’s famous producers and directors currently lives in mainland China and holds various jobs. [Hong Kong-PRC] Co-production – We are now moving towards a “Made in Hong Kong” concept instead. ”
The new Hong Kong and Europe funds are proposed as a pilot and second phase of expanded government funding and will be overseen by the venerable Film Development Council, a division of the civil service.
The first part of the fund, which aims to provide grants to commercially viable Hong Kong co-produced films, was announced in January last year with a focus on the Asia region. Its first call for applications is now closed and up to four successful Hong Kong-Asia projects will be announced within the next month.
The Europe Fund (Hong Kong-Europe-Asia Film Cooperation Fund Scheme) will operate along similar lines.
Grants of up to HK$9 million (approximately $1.1 million) will be awarded to projects involving Hong Kong’s award-winning directors, screenwriters and main producers and co-produced with European regions.
Six out of ten department heads must be Hong Kong citizens or permanent residents. There is no need to shoot in Hong Kong, but 30% of the cost below the line must be spent in Hong Kong. Similarly, works that are predominantly foreign-owned or produced in European or Asian languages other than English, Mandarin, or Cantonese can be funded.
It is also important that the project is not subject to cultural testing. There are also commercial considerations in place, so there is no need for distributors or distributors to participate in the application. However, successful applicants are expected to receive theatrical release in both Hong Kong and the other country.
The decision to provide stimulus in the form of grants rather than loans, co-investments or rebate schemes was also strategic.
“Recently, we see that due to market restrictions and changes, it is not easy for people to get funding, especially for small and medium-sized productions. We encourage people to be bold and dream. So if we’re really going to support the film industry and we’re going to really support cultural exchange, we’re going to subsidize it so that the people who design all these elements can benefit. “Sho,” Wong says.
While production rebates and tax incentives are common approaches in many competing regions, the subsidy system adopted by Hong Kong aims to simplify matters.
“we have [chosen not to] This complicates Hong Kong’s tax system. We have always prided ourselves on the simplicity of Hong Kong’s tax system. So, rather than initiating refunds and tax refunds, we choose to give subsidies,” Wong said. Although FDC is not a film commission, it also assists with practical matters such as location scouting and permits.
Hong Kong cinema has recently released hyper-local films such as Anita, Men on the Dragon, Table for Six, Mama’s Affair, and the record-breaking film The Guilt. Although he achieved some success with his works, his market share and production reached their lowest levels in decades in his later years.
These may reflect politics, training and development, market size issues, or even the disruption caused by the coronavirus. FDC responded by developing a series of new support structures and schemes. The new measures include: First Feature Film Initiative (currently in its 8th edition). Co-investment program, film financing scheme for the mainland market. Content development scheme for streaming platforms. and a script incubation program. Yet another company encouraged senior members of the industry to mentor a project by a junior director, who also won a HK$9 million grant.
All of this runs alongside the flagship Film Production Financing Scheme, first introduced in 2007, in which the FDC invests up to 40% of film production budgets. Due to COVID-19, its operating conditions have been relaxed, allowing private sector partners to collect 50% of the tranche before the FDC begins discharging its investment.
Recognizing the recent downsizing and inward-looking of Hong Kong’s industry, Wong says the aim is to once again expand its scale and scope. He wants to achieve more production and more variety.
“What we’re trying to do is encourage people to start producing. That’s why we have so many plans,” Wong says. “We want Hong Kong cinema to be more diverse. We want to see co-productions with China, but we also want to see co-productions with Asia and Europe.”
“We don’t want directors and producers to just focus on local stories in Hong Kong. If we do that, we’ll quickly run out of good stories. Rather, we want to find ways to introduce Hong Kong cinema to the world. I’m trying to find out.”
Wong is also not worried about cultural-political considerations or the government’s push for media and entertainment outlets to present good news about Hong Kong.
“No, we feel it’s a good movie.” [of all varieties]If we do well and get awards and international recognition, it all becomes a positive story for Hong Kong,” says Wong.
How the new Hong Kong, Europe and Asia film cooperation financing scheme works:
Each eligible film project will receive a grant of up to HK$9 million (US$1.1 million).
overview
This is the second phase of the co-production funding scheme, which was launched following the Hong Kong-Asia Film Cooperation Funding Scheme. The purpose of this scheme is to provide grants to film projects co-produced by filmmakers between Hong Kong and European/Asian countries, thereby enhancing the exposure of such cooperation in the European/Asian and international markets, and It is to achieve deep exchange and mutual learning. .
The co-production funding scheme is divided into two phases. Subsidies will be given to up to eight films in two stages. Each approved film project will receive a grant of up to HK$9 million*. This program only accepts applications for feature-length feature films and feature-length animations.
qualification
a) There must be at least one Hong Kong national and one European/Asian qualified film practitioner in the three key creative positions of producer, director and screenwriter on the production team.
b) Eligible filmmakers must meet both of the following criteria: (i) Be a national or permanent resident of Hong Kong/the respective country; (ii) if you hold the position of producer, director, or screenwriter, have won or won Best Film, Best Director, or Best Screenplay, respectively, at an internationally recognized film festival or Hong Kong awards ceremony; Must be nominated.
c) At least one Hong Kong permanent resident is required for 6 of the following 10 categories: Lead Actor/Voice Actor, Supporting Actor/Voice Actor, Director of Cinematography, Head of Action Choreography, and Head of Art Direction. , Director of Film Directing Department Costume and Makeup Design, Director of Film Editing, Director of Original Film Music and Original Film Songs, Director of Sound Design, Director of Visual Effects.and
d) At least 30% of below-line spending is spent in Hong Kong.
application
Details of the application procedure and eligibility criteria will be announced on the Hong Kong Film Development Fund website at a later date.
*Each eligible film project will receive a subsidy equal to the production cost if the production cost is HK$9 million or less, and HK$9 million if the production cost is more than HK$9 million. In the latter case, the applicant is responsible for raising other investments to cover excess production costs.
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