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Göteborg Film Festival’s annual Nostradamus Report looks into the future of the screen industries 3-5 years from now through interviews with industry experts. In her keynote, Johanna will explore the most important findings of the 2020 edition of the report, which is subtitled "A Creative Explosion". The intense market situation of the next 3-5 years offers producers both opportunities and challenges. How can European producers not just ride out the storm, but leverage audience behaviors and new technologies to protect their rights and creativity?

www.goteborgfilmfestival.se/nostradamus

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2020 will be the year when the film industry is going green. Producing sustainably is high up on the agenda of studios, broadcasters, films funds, producers, markets and festivals. While green production will soon be an industry norm, producing sustainably comes with higher cost and often a lack of sustainable resources, means of transportation, materials for set construction etc. How does this trend impact the work of independent producers, who already struggle with a dire financial situation and tight budgets? How can independent producers be incentivized to produce sustainably, in a situation where for many reasons it becomes harder and harder to finance films? We want to take a closer look at this complex issue, hear your thoughts and get your input.

www.website.website

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Digital market places and the platform business model are ubiquitous today. From the most valuable start-ups that are disrupting traditional markets, to established companies that have shifted their business model from a traditional linear to a platform based approach. But what exactly is a digital market place, how does the platform business model work? The platform business model does not own the means of production, but rather creates and facilitates the means of connection. René will highlight how platforms fundamentally change the interaction between buyers and sellers and how they impact the balance between demand and offer. He will also explore how a traditional film market could look like if successfully transformed into a platform and what this would mean for the work of producers.

www.hy.co

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The British Codes of Practice from 2002 have fundamentally impacted the market dynamics and changed the relationship between broadcasters and producer in the UK and have inspired similar agreements in many countries. The basic assumption of this mother of all Terms of Trade is that content diversity and innovation from an audience perspective will only happen if content producers get a significant financial reward and receive a pioneer profit for their efforts and innovations. Streaming platforms have until now not entered into collective agreements with producers and their associations, standard Terms of Trade have not yet been agreed on. Alexandra and Philipp will discuss with the audience whether independent producers need more protection when working with streamers, the potential design of Terms of Trade, and explore if a best practice charter is necessary. They will also share the outcome of the 1st European Film Politics Seminar (organized by the European Film Market on Jan 20) which has focused on the very same questions.

www.europeanproducersclub.org

www.produzentenverband.de