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[AFCNet Interview] Interview with Jose Javier Reyes, Chairman of FDCP

AFCNet: Can you provide an overview of FDCP's role in supporting and promoting the Philippine film industry? How has the council's work impacted the industry's growth and development in recent years? Jose Javier Reyes: The Film Development Council of the Philippines has focused on the global presence of the local movie industry through its efforts for (a) exposing Filipino producers to the mechanics of international coproductions (b) providing various impetus for foreign productions to utilize both the natural and technical resources of the country to engage in all forms of business whether full productions of feature films, series and the likes (c) providing opportunities for Filipino creatives to be exposed to the international arena not limited to film festivals alone but other activities that can provide inter and cross cultural opportunities and (d) developing local talents in preparation for the challenge of global competitiveness and active participation in activities beyond the territories of the archipelago. The Film Development Council also has a series of internal programs meant to focus specifically on the development of domestic productions, encouraging regional film development as well as an emphasis on film education and seeking opportunities for cross cultural engagements exposing Filipinos not only to Western developments but as well as that of the region. AFCNet:What financial incentives and support programs does FDCP offer to local and international filmmakers? Could you share a recent success story of a project that benefited from FDCP's support? Jose Javier Reyes:The FDCP has supported a variety of film festivals not limited to the cosmopolitan centers in the country but specifically to that of the various regions of the archipelago. These include two major independent festivals (Cinemalaya and Sinag Maynila) as well as that of the only international film festival in the country (QCinema). But going hand in hand with these are a variety of film festivals staged in various provinces of the country in order to provide further impetus to the development of regional filmmaking, Aside from these there are numerous incentives and support programs under the Film Philippines Office which provide funding and other support services not only to local filmmakers but to international coproductions as well. Examples of these films are Whether the Weather is Fine (2021), Blue Room (2022), When the Waves are Gone (2022), In My Mother's Skin (2023) and Iti Mapukpukaw (2023) among others, All local finalists of both short and feature length films of Cinemalaya and QCinema are given extra seed funding to provide independent producers greater impetus for their productions. AFCNet:What unique locations or advantages does the Philippines offer to filmmakers? How does FDCP promote these assets to attract international productions? Jose Javier Reyes:The Philippines is comprised of more than seven thousand islands, boasting of one hundred thirty five languages and yet takes pride in being an Asian nation with (a) a population that is generally proficient in the English language (b) possessing highly skilled and trained film technicians and artisans as well as artists (c) providing assistance and service not only through the FDCP but also government units like the Department of Trade and Industry, Department of Interior and Local Government plus the Department of Tourism to simplify the process of foreign productions. Not only does the FDCP provide services to facilitate foreign productions for ease of business but also equip foreign producers with a master list of artists and technicians in the country through the National Registry handled by the agency. Producers seeking artists, technicians, equipment, suppliers, etc. are aided by the agency with recommendations and certifications of quality in delivery and performance. AFCNet:How does FDCP support and develop emerging Filipino filmmakers? Are there any specific programs or initiatives aimed at fostering new talent in different aspects of filmmaking? Jose Javier Reyes:Numerous training programs are laid out throughout the year. With the present administration of FDCP, education has been identified as a priority. Education here is three pronged: (a) for the filmmaker (b) for the audience and (c) for the film educator himself. Workshops in particular skills such as screenwriting, cinematography, acting for the camera, directing and other activities leading to the improvement and development of filmmakers and their skills are programmed throughout the year and throughout the country through the various Cinematheques centers in the archipelago. Recently the FDCP established the Academic Film Society (AFS), an organization of schools and universities in the country offering courses in film, broadcasting, communication arts and mass communications. The purpose of this organization is to assess the status of film education in the country as well as give an opportunity for film students regardless of alma mater or region or language to get together, network and learn from one another. AFCNet:What significant trends or changes have you observed in the global film industry, and how is FDCP adapting its strategies to keep the Philippine film industry competitive? Jose Javier Reyes:The FDCP is focused on honing the Filipino producer and filmmaker to learn the mechanics of an everevolving and ever changing profile of world cinema. But its immediate focus is to strengthen the development of content and establish solid and mutually beneficial bonds with film councils within the Asian region to tap this market and develop a truly authentic and unique Asian market AFCNet:How does FDCP work to increase the visibility and distribution of Filipino films in international markets? Can you discuss any recent achievements in this area? Jose Javier Reyes:Filipino producers have been most successful in creating their links and networks with international productions. In the process, Filipino films and talents are being given the opportunity to see their works over and beyond the borders of territory. Globalization in terms of market appeal has become a necessity and the FDCP is encouraging and providing impetus to local producers to see film as a product for the world rather than just the local market or the pocket audiences based in other countries. FDCP is providing financial aid and incentives for the development of world class narratives that carry distinctive Filipino themes and core but carryijng an international appeal. Through incubation workshops, project markets and downright cash incentives, FDCP is creating a path tpo expand Filipino films for a world market without compromising or surrendering the heart and soul of the people but rather highlighting their uniqueness and universality. AFCNet:How does FDCP promote sustainable filmmaking practices? Additionally, how do you ensure that film productions positively impact local communities across the Philippines? Jose Javier Reyes:Various programs are precisely centered on that sustainability, protection not only of the film worker and artists but of the industry as a whole. Extensive studies are being made to see where the bridges are needed and what corrective measures must be taken which include (a) streamlining production bureaucracy (b) assessing the cost of ticket prices with its corresponding effects on market (c) reviewing the relationship of cinema productions with the inevitable rise of streaming platforms (d) working on reduction of taxes if not moratorium or tax holidays until the industry has fully recovered from the backlash of the pandemic. Similarly, the establishment of more Cinematheques as well as satellite cinemas accessible to mainstream audiences for art house films is part of the short term planning of the agency. AFCNet:What is FDCP's longterm vision for the Philippine film industry? What key goals do you hope to achieve in the next five years? Jose Javier Reyes:The FDCP together with other creative agencies of the government are involved in the creation of a short and long term roadmap to provide the goals and directions affecting the industry that it is assigned to nurture. The five year plans include: (a) Establish solid educational programs for aspiring filmmakers not only provided by academic institutions but also of FDCP with a year long schedule of workshops, seminars and other engagements including instructional channels in the web, round table discussions in the FDCP website as well as seminars and conventions set in a hybrid modality to the simulcast livestream throughout the archipelago. (b) Establish three more Cinematheques in the northern provinces of Luzon, central Visayas and Mindanao with a year long curation of films and workshops for the constituents in the affected regions. (c) Provide greater and more creative impetus for producers and aid them in international distribution and marketing to give the initial push for the globalization of Filipino cinema. (d) Foster greater cooperation among Asian film councils to create a solid bloc that can benefit from the mutual exchange and patronage of content and hopefully foster coproductions. (e) Establish the Philippines as a creative hub in the region, providing ease of business of foreign productions as well as a willingness to address various issues that may hinder foreign participation in local creative projects. (f) Join other Asian councils in activities that will promote not only the Philippines as a nation but Asia as a region. Contact Film Development Council of the Philippines to inquire for more information.

08.30.2024

[AFCNet Interview] Interview with Jennifer Jao, Director of Taipei Film Commission

AFCNet: What is the appeal of your region for filmmakers? Jennifer Jao: A City with a Multicultural Heritage & Great Locations Taipei is in a basin surrounded by mountains and rivers. You can find steaming hot springs, lush landscapes, and a unique natural spectacle in Thermal Valley, a beautiful riverside park and 19thcentury street by the Danshui River. Within the city, Taipei offers a complete experience with landmarks like the towering 508meter Taipei 101 and vibrant night markets you can’t find elsewhere. Creative Talents Internationally acclaimed masters like Hou Hsiaohsien, Lee PingBing, Tsai Mingliang, Tu Duchih and the late Edward Yang were all based in Taipei. Ang Lee, Wong Karwai, Yip Kam Tim and Christopher Doyle are familiar with the city. Besides cinematic creative talents, Taipei is also the seat of some of the best animation studios in the world. Efficient Cost Compared to other East Asian cities, the living cost in Taipei is very low. It is that life in Taipei is much cheaper than in Tokyo, Hong Kong, and Seoul, but the price standard in Taipei is also lower than in Beijing or Shanghai now. Given the high quality and low cost of production in Taipei, the city is the best choice for film production in East Asia. Flexibility of crews Unlike in many countries, you will find the Taiwanese workforce very open to different cultures and much more communicative and easygoing. In Taipei, you will meet local crews that are very professional, flexible, and diligent. You can count on their versatility and benefit from the low cost of services. AFCNet: How is 2024 looking? Jennifer Jao: J2024 is shaping up to be a promising year for the film industry in Taipei. We anticipate a continued growth in opportunities, diverse projects, and collaboration with talented filmmakers and production crews. The city's vibrant cultural scene and support for the film sector create a conducive environment for filmmaking. If you have any queries about Taipei or projects that might connect to the city, we'll be here to assist in making your filmmaking experience in Taipei a fruitful one. AFCNet: Can you tell us about any productions under way or in the pipeline? Jennifer Jao: There was a total of 612 productions in Taipei city last year in 2023, including 46 feature films, 41 TV series, 187 commercials, 107 music video, 125 short films,101 web series and 5 xxdocumentaries. As of late February, we have had 10 foreign productions this year in 2024, including 2 feature films, 2 short film, 1 commercial, 1 music video and 4 101 web series. In additionally, The Taipei Film Fund, which launched by Taipei Film Commission in 2018, attracts countless submissions from talented applicants every year. In 2022, there were 3 film projects selected: “NonHomicide Novel”, Hong Kong, ChenNien Ko ” 33 Days”, America / Singapore, David Holechek / Daniel Holechek “LeftHanded Girl”, England / France, ShihChing Tsou / Sean Baker Released Taipei Film Fund includes: Wet Season (2020, Singapore), Dream Raider (2020, Singapore), Memory Eclipse (2020, Hong Kong), Love Talk (2020, Japan), Adventure of the Ring (2020, Japan) GATAO The Last Stray (2021, South Korea), Island Nation Season 2 (2021, Japan), Seqalu: Formosa 1867 (2021, Switzerland), Moneyboys (2021, Austria/France/Belgium), Terrorizers (2021, France), Dead & Beautiful (2021, Netherland) Red Line (2023, Hong Kong), For My Country (2023, France), My Heavenly City (2023, Malaysia), Be with Me (2023, USA), Snow in Midsummer (2023, Malaysia) AFCNet: What’s the strategy for attracting foreign productions? Are there incentives in place? Jennifer Jao: International Productions Funding opportunities Taipei Film Fund, run by Taipei Film Commission, is a selective fund that exists to encourage international coproductions. Up to 30% cash rebate, Bureau of Audiovisual and Music Industry Development, Ministry of Culture (BAMID, MOC) of Taiwan offers cash rebate of up to 30% on a minimum local spend of $1m. Taiwan’s International Cofunding Program 2.0 (TICP2.0), TAICCA supports up to 49% of either the production budget or global marketing budget. AFCNet: Can you describe the variety of locations available? Jennifer Jao: Taiwan is a place of incredible variety. We have diverse locations, from mountain to shores, historical monuments to Metropolitan skyscrapers. To know more location details, this is our location Gallery: https://www.filmcommission.taipei/en/scenes_list.aspx AFCNet: Can you tell me about the skills and availability of production crews? Jennifer Jao: Filming often encounters unexpected situations due to different locations and coordination among partners. Production teams need the ability to adapt to the environment and well communication skills. Taipei Film Commission has been aiding with both domestic and international production teams, facilitating aspects such as location rentals, traffic control, and street closures, aiming to effectively address challenges encountered during filming. AFCNet: What the infrastructure like? For example, how easy is it to travel to and from major cities? Jennifer Jao: Taiwan is a small island, and most of the film industry is based in Taipei. Taipei as the capital city and the heart of Taiwan, we welcome productions to come to Taipei and Taiwan. With great public transportation systems, it is easy to travel between different cities, and from mountain to ocean. If production takes places in different cities, we could also refer it to other regional organizations for production assistance. AFCNet: Can you explain how the film commission helps visiting productions? Jennifer Jao: Taipei Film Commission provides location scouting, shooting supports, advertisement broadcasting as well as funding scheme. Given that most Taiwanese production companies and talents are centered in Taipei, we can certainly connect you with the appropriate collaborators. Taipei Film Commission is dedicated to ensuring that your moviemaking project in Taipei as rewarding and successful as it can be. Contact Taipei Film Commission to inquire for more information.

06.28.2024