Renowned Chinese and European film directors and producers attended the high-end forum on China-Europe Film Co-production on April 25, and delivered speeches on topics ranging from film production, financing and co-production to practical guidance on related legal issues.

The forum was co-organized by China Film Co-Production Corporation (CFCC) and European Producers Club in the hope of increasing mutual understanding and the seeking of more opportunities for co-production, the future and trend of the filmmaking industry.

Undeniably, a film labeled with an international tag is more likely to win an international market when considering financial resources, avoidance of local protectionism, preferential treatment and wider fan bases.

In the meeting, attendees gave out a strong call that two parties signing a co-production agreement must guarantee healthy cooperation and production of quality films.

Following the boom of Chinese film industry, the Chinese market has become more appealing to overseas filmmakers.

According to Zhang Xun, president of CFCC, eight out ten films that took the lead in national box office revenues 2010 were co-productions like The Karate Kid, a joint-work by Columbia Pictures and the China Film Group, and Astro Boy by China, Japan and America.

See-Yuen Ng is a veteran producer, director and distributor from Hong Kong, a major partner of Chinese mainland in film co-production. He has produced successful co-works like Dragon Inn and Once Upon A Time in China 3. As a pioneer in co-producing films with Chinese mainland, Ng recalled his own experience, saying the mainland market has become more accessible to Hong Kong filmmakers and now both sides work to simplify procedures of cooperation.

Speaking of the China-Euro cooperation, Ng was confident about a win-win situation, saying a co-production helps promote a Chinese identity or a European identity in their respective releases.

"Today's partners needn't bring a whole crew or equipment," Ng said. "Just bring your script, a good idea and a cooperative heart."

Director and producer Phil Agland from the UK is a multiple BAFTA and Emmy award winner with a wealthy experience of co-production with CFCC.

The director felt sorry that many foreigners don't see enough Chinese films, adding it's a shame that many good Chinese films are not distributed in foreign markets, and expected the two governments would sign agreements to facilitate the process.

Time has changed. Rapid economic growth of China has bolstered its film industry to develop more quickly than ever. As can be seen, three new projects China Film Group signed with their foreign counterpart Monday morning have pooled massive capital inflows from outside, while the Chinese party plays a dominant role.

Dennis Wang Zhongjun, president of Huayi Bros., China's largest entertainment group which has collaborated with many renowned foreign companies such as Sony, Disney and Columbia Pictures, said major concern has shifted from money-orientation to market-orientation while seeking a partner.

"The Chinese film industry is not short of money now." Wang encouraged fellow filmmakers who are seeking financial support via the film festival. "You will get money in no time as long as you have good project."

According to Wang, it was estimated a listing of Huayi Bros. would bring about 20 billion yuan ($3.05 billion) into the film market.

Wang revealed that English-language films will be the majority of co-production for Huayi Bros. and hoped more excellent actors and producers will join in because of the urgent need of talent at present.

Jeremy Thomas from the UK, who produced Bernardo Bertolucci's epic The Last Emperor, indicated "the most crucial element for a long career in a movie business is to be able to change, cooperate, understand and respect the culture and customs of your collaborators."

The producer, with strong memories from producing The Last Emperor, said he would like to come back to China and make a better film.

Of course, there are challenges to deal with in co-producing considering practical problems like meeting different people, embracing other cultures, dealing with local governments and adapting to different ways of working. However, like Thomas said, "the world's cinema is one world and the language is one language," consultation and discussion will solve all the problems.

So, co-production is natural and the day is not far away to see more smash hits with Chinese content and international production.

(CRIENGLISH.com April 26, 2011)