AFCNet

Asia Insider

[AFCNet Spotlight] Interview with Kobe Film Office

AFCNet: Could you introduce your organization and tell us about your key services? What makes your city unique for filmmakers? Kobe Film Office: Kobe Film Office was established on September 13, 2000, as the first film commission in Japan to be accepted as a full member of AFCI. We operate under the Kobe Tourism Bureau as our head office, working in close collaboration with the Tourism Planning Division of the Economic and Tourism Bureau, City of Kobe, alongside the Hyogo Prefectural Police and other related organizations. AFCNet: What makes Kobe unique is our compact city design that offers diverse filming locations within close proximity, all supported by an excellent transportation infrastructure including convenient access to airports and railways. Filmmakers can efficiently capture a variety of scenes without extensive travel time. KFO: Our primary mission is to provide comprehensive OneStop services for productions, attracting film projects to Kobe with the goal of promoting our city globally through film and television. We believe this not only brings visitors to our city but will substantially contribute to Kobe's economic revitalization by fostering growth in film and related industries. AFCNet: What are some popular or unique filming locations in your city? How do you help productions discover and access these locations? KFO: One of our most intriguing locations is the Conveyor Belt Tunnel, which has a fascinating industrial history. This massive tunnel was originally constructed to transport earth and sand from the mountains to the sea for the creation of Kobe's artificial islands. While the conveyor belt system has been removed since the completion of the land reclamation project, the tunnel itself remains intact, offering filmmakers an exceptional industrial backdrop with impressive scale and raw aesthetics. This unique space has proven particularly valuable for feature films, commercials, and music videos seeking distinctive visual environments that convey depth and character. The tunnel exemplifies the kind of unexpected locations that make Kobe special. Productions can explore this and other filming locations through our comprehensive location database available on the Kobe Film Office website, where we showcase the diverse settings our city offers. AFCNet: How does your organization help productions navigate local requirements and regulations? Could you walk us through your standard process from initial inquiry to wrap? KFO: "Our process follows a structured approach designed to support productions at every stage. We begin with receiving inquiries via email or phone and gathering all necessary project materials. Based on these materials, we propose suitable locations that match the production's needs. If requested, we then arrange logistics for initial location scouting, followed by coordinating visits for the director and main staff when they wish to conduct more detailed recces. An important aspect of our work happens simultaneously with the scouting phase coordinating with local communities. Even when a location is individually approved, we understand that community support is essential for filming to proceed smoothly. Once filming is confirmed, we finalize dates and locations while coordinating necessary greetings and arrangements with the local community. Our support extends to introducing and arranging accommodations, meals, and local equipment rental services for the film crew. During production, our staff is present on set to provide immediate assistance. After filming concludes, we extend postfilming greetings to the local community. The process continues with publicity coordination, where we confirm PR content with the production's publicity department. Finally, we help disseminate information via social media and other channels to coincide with the project's release or broadcast. This comprehensive approach ensures a seamless experience for productions filming in Kobe." AFCNet: What local resources and networks can productions access through your organization? How do you help connect incoming productions with local crew, facilities, and services? KFO: Our staff provides direct, handson assistance to production crews upon their arrival in Kobe. We tailor our support to each production's specific requirements, connecting them with local resources including crew, equipment, facilities, and services as needed. AFCNet: How do you work with and support your local film community? Could you share any initiatives or programs that have been particularly successful? KFO: We actively foster relationships between productions and local businesses. For example, projects like "Alice in Borderland" benefited from exceptional cooperation from businesses in our port district. Similarly, "Cyborg She" demonstrated Kobe's capacity to facilitate complex urban filming, including car chase scenes and coordinating large numbers of extras. These successful collaborations highlight our commitment to creating an environment where filmmakers can realize their creative visions with the assurance of seamless local support and access to Kobe's diverse and striking locations. AFCNet: What have been some of your most memorable or challenging productions? How did these projects showcase your city's capabilities as a filming destination? KFO: Among our most memorable productions, "Cyborg She" showcased Kobe's versatility for complex urban filming scenarios. Production utilized our city's landscape effectively for technically demanding car chase sequences and scenes requiring numerous extras. "Alice in Borderland" was another significant project that highlighted the exceptional cooperation of businesses in our port district, demonstrating the strong relationship we've built with our local business community and their willingness to accommodate film productions. These projects exemplify how Kobe offers both visually compelling urban environments and the logistical support necessary for smooth production experiences. AFCNet: How do you ensure filming activities benefit your city's residents and businesses? Could you share examples of positive impacts? KFO: The economic impact of film production in Kobe has been substantial. In fiscal year 2023 alone, we saw an economic benefit exceeding 400 million yen, which represents a significant contribution for a film commission in Japan. These financial benefits flow directly to local businesses, from accommodation and catering to equipment rental and transportation services. AFCNet: What are your organization's priorities for developing your city as a filming destination? What opportunities do you see ahead? KFO: Beyond the direct economic benefits, our priority is attracting productions that showcase Kobe as a worldclass filming destination. We see significant opportunities in leveraging our unique combination of compact urban design, diverse locations, and excellent infrastructure to attract international productions. Our dedicated team remains committed to providing comprehensive support that makes filming in Kobe seamless and successful experience for productions of all types and scales. Contact Kobe Film Office to inquire for more information.

04.03.2025

[AFCNet Interview] Interview with Sovichea Cheap, Director of Cambodia Film Commission

AFCNet:Can you provide an overview of CFC's role in supporting and promoting Cambodia's film industry? In light of recent global industry trends and changes, how has the commission's work evolved and impacted the industry's growth and development? Sovichea:CFC has been launched in 2010 when the industry state was very limited, there was no modern cinema theaters, very few producers, limited film equipment, there were a few dozens local features films produced for the local market mostly, and the production of short film was nearly nonexistent. CFC has been very active in the first years to attract foreign film production through an intense marketing campaign and Cambodian physical booth presence in the main film markets (Cannes, Busan, HongKong, Los Angeles). This was combined with a team trained to streamline requests from foreign producer and accompanied by the government facilitating film permits in a timely manner. This led to a sharp increase of 400% of the foreign film expenses in the first years and a continuous increase from 2010 to 2020, generating millions for the Cambodian economy and numerous job creations. Beside this, CFC has encouraged the creation of the Cambodia International Film Festival (CIFF) in 2010, as to promote quality Cambodian production and expand the regional and international networking opportunities for Cambodian filmmakers. CIFF was launched before the first modern theater (DCP) was opened in 2011, since then Cambodia has opened about 100 screens more. Cambodia loves cinema! After 13th edition as the most significant film event in Cambodia, CIFF gathers 15 to 20k filmmakers and film lovers every year. In the recent years, CFC has focused more on training local filmmakers and crew and collaborates with initiative to improve xscript development and producer’s development. AFCNet:What financial incentives and support programs does CFC offer to local and international filmmakers? Could you share a recent success story of a project that has benefited from CFC's support? Sovichea:Cambodian Government has set up some welcoming measure since 2010 to facilitate foreign film shooting. The creation of the Cambodia Film Commission in 2010 an organization to be a onestop for foreign production to understand the steps to take and what is a available to make a movie in Cambodia. Since Cambodia does not use ATA Carnet, there is a special procedure to request tax free importation for all filming related gear including camera and sound, costumes, vehicles and weapons which has been implemented since early 2000. This has allowed all feature film and other large projects producers to import smoothly all their production needs. Since 2013, the FrenchCambodia coproduction agreement has benefited several European feature films productions who could benefit from public support and still shoot in a foreign country or in. foreign language. This has been a winwin policy for Cambodia and Europe. Since 2014, a tax rebate has been allowed to feature film projects which plan to shoot significantly in the country. This incentive must be requested with the project presentation and is allocated on a case by case based. It has benefited several projects since its implementation and implies a 10 to 15% cut on local spendings. In 2023, the Ministry of Finance has initiated a tax rebate for local film production companies. Since 2023, new tax policies are being discussed and are in perspective for Cambodia film friendly policy to be more transparent and systematic. There is a real interest today to be proactive on launching policies that follow the needs of the foreign producers while benefiting the Cambodian film industry. Cambodian Government has a plan to support creative industry development in the country. The potential is high given the assets the country has to offer and the increasing number of local talents. Cambodian rich culture and traditions combines today with a Cambodian Youth connected to digital world and global platforms to show to the world its creativity. AFCNet:What unique locations and advantages does Cambodia offer to filmmakers? How does CFC promote these assets to attract international productions? Sovichea:Cambodia has several production epicenters that foreign productions use the most as they gather many advantages in a small perimeter. Siem Reap and the Angkor Temples (Central north area) offers a very appreciated hotel and restaurant infrastructures combined with a diversity of locations such as exotic architecture, tropical forest, waterfall, mountains and colonial architectures. Kampot and Kep (South East area) is very appreciated for the great diversity of location by the seaside in a 1 huors perimeter. Locations include moutains, river, sand beaches, mangrove, islands, colonial architecture, ricefield and other typical Asian background. Phnom Penh has now become a bustling city offering a mix of authenticity and development. More authentic upcoming production centres include the authentic town of Battambang and its surrounding and the mountaineous area of Mondolkiri.The permit process takes a few weeks and the film rating system introduced several years ago has opened minds and allowed a wide diversity of films and topics to be shot in Cambodia. Other key assets include its low cost in terms of set construction and capacity to build huge sets in the countryside since the population density and land usage is still fairly low in the countryside. Foreign production are very surprised of the flexibility the country offers for filmmakers and to see that crew and filmmakers have made so much progress to communicate in English, which gives a strong regional advantage for Cambodia. In Cambodia infrastructure have been developed in terms of bridges and roads, all range of affordable hotels and a solid communication network ensuring wide and fast internet coverage. One of the key advantages of Cambodia is the warmth of people and the food. Many foreigners who have shot films in Cambodia want to come back and sometimes fall in love with the country. AFCNet:How does CFC support and develop emerging Cambodian filmmakers? What specific programs or initiatives are aimed at fostering new talent in different aspects of filmmaking Sovichea:CFC has been training film crew since 2010 focusing on short training combined with on the job training as part of the CFC Film Lab training program. Focused has been put on preproduction skills and production technical crew skills training. CFC has provided over 3000 trainees with short term to 1year trainings, provided by international mentors and teachers (supported by the French Agency for Development). CFC has also trained young Cambodian filmmakers in collaboration with the Bophana Audiovisual Center in directing, some of them have now made feature films selected in international film festivals. CFC has also put together many programs in collaboration with other organizations such as FLY (supported by ASEANROK), CineSharing (in collaboration with KUDU Studios) or selecting students for international schools (such as AFIS). The trained local crew has expanded from about 50 in 2010 to over 400 in 2024, allowing to have several significant project filming at the same time in the Kingdom. AFCNet:How does CFC work to increase the visibility and distribution of Cambodian films in international markets? Can you share some recent achievements in this area? Sovichea:Cambodia has set up official agreements for cinema between France and Cambodia. In 2010, a cooperation agreement was signed at the Cannes Festival between Ministry of Culture and Fine Arts of Cambodia and the French Center for Cinematography and in 2013, a designated coproduction agreement was signed allowing several productions to benefit from the European financing scheme and coproduce with Cambodia. The Cambodia IFF is the main platform for showcasing the best of Cambodian cinema production annually and promote coproductions. CIFF has also linked numerous partnerships with film institutions to promote Cambodian talents including the Locarno OpenDoors (with the Locarno Film Festival) and collaborates with partners Festivals, Museums and film organizations on all continents to showcase Cambodian programs. This generates invitations from Cambodian films and talents worldwide. Since 2010, the number of Cambodian short films, xdocumentaries, and feature films selected in international film festivals have been in constant rise. CFC promotes these films and highlights these filmmakers reaching international standards. AFCNet:What is CFC's longterm vision for the Cambodian film industry? What key goals do you hope to achieve in the next five years? Sovichea:There has been a lot of progress and achievement in the last 15 years but the industry is still lacking capacities of national structure in terms of financing and promoting local production. In the past few years the ASEAN countries have made significant investments and strategic public film policies to create film schools, film incentives, film funds, film organizations, we hope that more resources can be allocated to this sector in Cambodia. Compared to industrial sectors requiring very heavy investments, creative industries offer incomparable return on investment and boost tourism at the same time. Since 2023, new tax policies are being discussed and are in perspective for Cambodia film friendly policy to be more transparent and systematic. There is a real interest today to be proactive on launching policies that follow the needs of the foreign producers while benefiting the Cambodian film industry. The creative industries offer a huge potential for Cambodia’s young generation and with appropriate support from public and private sector, Cambodia could make significant progress in the coming years. Contact Cambodia Film Commission to inquire for more information.

12.31.2024