Polish Producers Talk A Way Forward: IP Ownership, International Co-Production  | instastori.com

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Poland, renown for its accumulation worth and 1 of Europe¡s biggest markets extracurricular its Top 5, enjoyed immoderate limelight astatine Conecta Fiction whee it received a state focus. 

Six of its apical independent producers – including Dariusz Jablonski astatine Apple Film, Anna Rózalska, co-founder and shaper of Match and Spark), Telemark’s Maciej Kubicki, a producer-writer and Ryszard Sibilski, caput of EndemolShine Polska, debated cardinal issues, of which nan hottest is IP ownership.  

Producer-director Lukasz Bluszcz a co-owner of Vision House, and Agnieszka Knysak-Sandecka, caput of accumulation astatine Viaplay-owned Paprika Studios, besides said astatine nan sheet whose expertise ranged from premium TV bid for illustration Telemark’s “The Pact” and nan Polish adjustment of “In Treatment,” to actual shows, which is Vision House speciality.

Panel moderator Alicja Grawon-Jaksik, astatine Maxfilm explained that galore of Poland’s 150-200 accumulation companies nutrient some characteristic films and series. Most bid are modestly priced, astatine astir €300,000-€400,000 ($327,000-$436,000) for a 40-minute episode, rising to $545,000-$872,000) for premium series. Netflix dominates nan streaming market, and invests importantly successful Polish series, Grawon-Jaksik said.  

Currently, Poland is facing an 18% ostentation rate. Independent producers obsession, however, is IP. 

When streaming platforms entered nan market, location were hopes of shaking up nan accepted market, Dariusz Jablonski observed.

“I deliberation that nan Polish marketplace is simply a small spot traditional, a small spot remote. Streaming platforms coming to nan aforesaid level each together tin alteration that. My dream is that if platforms connection producers nan chance to create premium bid and springiness them nan chance to gain money from success, everybody will win. IP successful truth dominated discussions astatine nan Conecta Fiction panel.

To clasp IP, 1 solution is to present an world element to the accumulation process, transforming an idea into a format. “There is simply a very clear separator between local productivity and overseas creativity. When we travel pinch a Polish thought to the Broadcasting Corporation it is not uncommon for america to beryllium asked to time off nan rights behind early connected successful nan process,” said Sibilski. “However, retaining rights to our IP is very important to us in bid to maximise avenues for exploitation.”

This is why Polish producers are eager to activity connected co-productions. However, this is not nan only solution; producers want to spot changes that let them to gain money and put successful their accumulation companies for further development. Lukasz Bluszcz emphasized that “Poland has go nan 2nd largest importer of formats down Germany.” 

He added, “It shows nan spot of nan marketplace financially, but besides nan weakness of not processing a batch of home formats and consequence aversion of nan broadcasters. And we would really emotion to alteration that, possibly starting pinch nan nationalist broadcaster. But that’s a dream.” 

Although Poland whitethorn lag down successful position of IP ownership, cardinal producers bring a upwind of change. Some are already up of nan game, for illustration Dariusz Jablonski, who has follows his ain way to independency by processing “series formatting work astatine my ain costs and only past propose it to nan broadcasters because past I person nan emotion that I power what I’m offering and what I’m doing.” 

One of nan champion examples is nan crime play bid “The Pleasure Principal,” which was almost wholly developed astatine his ain costs and system arsenic a co-production betwixt Poland, Ukraine, and nan Czech Republic. It was sold to European countries, generating revenue, pinch Jablonski portion retaining ownership.

The Pleasure Principle Bartosz Mrozowski/Beta Film