The role of associations in the life of a film is paramount
" A dealer will often be limited to asking the director to move. If a producer, actor or a chef-operator makes you want the public to come into a room, do not hesitate to invite them. "
The directors and producers are eager to share their work with the audience, to be invited into the venues.
It is reassuring for them to know that community networks exist locally. Sunday, May 17, 2009
e'm interested in these movements, especially in rural areas where there work that is taking place, is whether there is a network, a mesh between the associations between the elected local councils, commissions that have supported us. It is very important to us. We are pleased to participate in that. The interest shifts to the producers and creators, beyond the importance of support for their films, also lies in the possibility of raising public awareness to the work of front-end manufacturing, so that the link between economics and the arts is not forgotten: "When a producer or distributor is talking about his work, the public realizes that the work is not something dematerialized as a download on the internet, but instead there are people who work behind and the economic chain is important.
"
Klapisch What would have become without the accompaniment of his first short films? Klapisch, like many others, is a filmmaker now on the market today that is derived from cultural activity. This emergence of important filmmakers is due to the tremendous work carried out initially on a short film , research work and exhibition of films works through networks of cultural action: Agency's short film, Crossroads Festival, Run for the short film, etc.
., grouped in the ROC -
Coalition of Short Film . For example, Agency short film receives 600,000 euros each year for the rental of copies, that money is then redistributed to the directors and producers.
"
You have to imagine a revolution of our systemic work on ways to work, put the film in the center of our projects to disseminate and raise new modes of cooperation. Why today's short films are distributed and they do they face more public? First, because they benefit from a network ranging from festivals and associations programming to the arthouse cinemas who may have access to movies quickly. Secondly, all these places have access to films throughout the life of the film, at the option of desire of a number of clandestine pictures to show those films. "
., grouped in the ROC -
Coalition of Short Film . For example, Agency short film receives 600,000 euros each year for the rental of copies, that money is then redistributed to the directors and producers.
"
You have to imagine a revolution of our systemic work on ways to work, put the film in the center of our projects to disseminate and raise new modes of cooperation. Why today's short films are distributed and they do they face more public? First, because they benefit from a network ranging from festivals and associations programming to the arthouse cinemas who may have access to movies quickly. Secondly, all these places have access to films throughout the life of the film, at the option of desire of a number of clandestine pictures to show those films. "
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