Issue link: https://maltatoday.uberflip.com/i/1448619
9 maltatoday | SUNDAY • 6 FEBRUARY 2022 INTERVIEW of output should be a constant: not just a one-off. But how do we turn this into a constant? I would say it's by creating a national film strategy, that enables film-makers to actually 'make films'; and not where the goal-posts continu- ously keep shifting. This brings us to what local film-mak- ers are actually demanding. What is it, precisely, that you would like to see changed? And what do you mean by 'shifting goalposts', in this scenario? I'd like to start off by saying I am speaking independently here – as some- one whose previous academic work has centred on this very subject; and as someone who makes films themselves. It's not easy to pin it down to just one example: there are multiple national incentives and structural changes that could be implemented to support Mal- ta's own filmmaking output. I am just going to highlight a few. One thing for sure, is that the au- dio-visual sector (which includes tel- evision) can still be described as being highly fragmented: split across a num- ber of ministerial portfolios and insti- tutions, without any formal connection to a single central organization; which perhaps makes it difficult to create a more comprehensive film strategy. Then there are other practical matters: for instance, 'Screen Malta' [formerly the Malta Film Fund]. It's great that we are investing in local productions; but for starters, the amount of money giv- en out to each year needs to increase. And more importantly, the dates of the annual call for projects seem to contin- uously change. There needs to be more consistency, on this point. Especially if you're a producer, and you're in the process of planning your budget, rais- ing finances, and creating a timeline, and so on. As I said, there are a multitude of changes that need to be made. I'd like to align my comments with those al- ready made by other film professionals that have come forward over the past few weeks – through ĊELEBRAZZJO- NI, the MEIA and MPA – in calling for a working group that can be part of the discussion, to create a cohesive and realistic national film policy. The emphasis thus far has been on princi- pal photography. But post-production should also be included, as should film education, exhibition, heritage, screen tourism, co-production… the list goes on. Still on the subject of Screen Mal- ta: there is the issue – also raised by ĊELEBRAZZJONI – of the 'de mini- mis' clause. The way the funding pro- gramme works in practice, is that any entity can only receive a maximum of €200,000 in government funding, over a period of three years: whether it is from the Film Fund, or the Arts Council, or any other government source. But if the budget of the film you're working on is, say, €1 million – which is not even very much, for a film – where does that leave you, as a film-maker? But that only raises the question of whether a national film industry should even be so reliant on govern- ment funding in the first place. Look- ing at how films are financed in other countries: they're not all State-fund- ed, are they? Other national film industries are a lot more supportive. And actually, it would be a good exercise to compare policies of other nations that share similarities with our own: such as domestic audi- ence size, GDP, and so on. But I am not suggesting, in any way, that filmmakers should be totally reli- ant on government funding… of course not. And they normally aren't. Private financing is important. Just as co-pro- ducing with other countries is impor- tant. Not just for financial reasons, but also for the creative and cultural ben- efits that co-producing with other na- tions can bring. But by investing in our own films, we would then also be in a position to at- tract further investment from interna- tional production companies, to create work that is mutually beneficial to all parties. Apart from financial considerations, there are also entirely logistical/ practical challenges. Malta boasts the long-established (maritime-themed) Rinella Film Studios… but what other facilities exist for other types of pro- ductions? Is Malta even equipped, to produce quality films on an industrial scale? I would rather focus my attention on Malta's domestic output. But having said that, many are aware that since we do not retain a soundstage or multiple soundstages, it can often be difficult for productions to shoot simultaneously. And this is something that I believe is being taken into consideration. Also, there is only so much time left for us to rely solely on the [Rinella] tanks. But what we do have is a malleable lo- cation, and a hardworking and skilled workforce. And by "industrial scale", what do you mean? Quality films don't necessarily mean they have to cost millions of euros to make. Story, tech- nique, talent – these are the key aspects that we need to nurture. Looking beyond the local scene: the world of film itself, as we speak, is in the process of changing. Like other indus- tries – for instance, music – it is strug- gling to find new avenues of expression: Netflix, Youtube, etc. Surely, this cre- ates opportunities, as well as challeng- es, for any film industry. How do you see Malta's industry adapting to these changes? Truth be told, we're still talking about 'creating a national film policy' here. We're not even at the point where we can have the sort of conversations that the rest of the film world is currently fo- cused on: such as diversity in film, sus- tainable environmental practices, etc. etc. Before we can talk about 'adapting to global changes'... let us sit together, and discuss how to change the current status quo, so as to at least be able to move forward pragmatically… PHOTO: JAMES BIANCHI / MALTATODAY We are often labelled as the 'Hollywood of the Mediterranean' – but the question many of us are asking is… how can we also be ourselves? How can we also create a plan, that takes Malta's own characteristics into account?