Speaking at Nem in Croatia, the co-founder of the Ampère analysis, Guy Bisson, directed the rule on the so-called plan to save Hollywood by Jon Voight and Associates, and assessed the potential impact on European film and television.
“A price of 120% on the incentives to cancel global programs is clearly ridiculous and obviously very damaging, potentially, for European industry,” he said. “Tax treaties, local tax treaties in the United States and incentive regimes, just as we use in Europe, clearly, this is the way to follow if you want to reorganize your industries.”
A draft of Making Hollywood’s Hollywood Great Plan, obtained on the deadline, included a mixture of production incentives and a price of 120% on the value of a foreign incentive received. After presenting the plan to Donald Trump, the public president offered a 100% rate on all imports of American films, including productions that shoot in other countries.
The Nem Confab and Sales market takes place every year in Dubrovnik. The last edition began on Monday with the Bisson session, which was entitled: “Content trends in the Trump era: protectionism, production and international markets”.
Ampère’s executive prepared the field by showing how European content activity has benefited from American studios expanding their production bases and their installation banners in several parts of the continent, which has led to orders for thousands of hours of programming at first glance.
He also said that international markets are the key to these same American giants monetizing their series and their films with, for example, 54% of the total box office for American films from international markets, according to Ampère.
By entering the weeds on the suggested measures, he said that a 120% rate on any incitement received abroad is “one of the most concern about the proposal, effectively closing the door of American producers using any incitement abroad”.
He then broken down what could happen if the proposed measure was introduced with a slide that identified the United Kingdom and Spain as the two largest potential losers in Europe, taking into account the volumes of American production in the two countries. “Obviously, the major European markets – the United Kingdom, France, Italy, Spain, Germany – are on this list, but Poland, for example, and the Scandinavian markets. [among] The biggest beneficiaries of this production of “flight”.
Speaking of the concept of tax treaties with certain countries for films substantially produced in the United States, Bisson said that the idea is interesting: “Although you should still make a majority or pass a majority of the budget, in the United States, you can actually stack or double the incentive patterns through these treaties.”
He also declared that any reintroduction of rules that prohibit networks (and now SVOD) which have fully with watch “would so much delete one of the things that are so much annoyed producers, which is banks that take all perpetuity rights”.
Trump said that he would meet with industry officials, and the White House said that no final decision had been made regarding the plan. Voight, Sylvester Stallone and a group which included studios and unions later wrote a letter to Trump emphasizing the need for incentives for production
Although punchy, the NEM presentation therefore analyzed what are currently theoretical scenarios. Bisson said the best hope for European biz is that theory never becomes of practice.
“None of this happens or being set up, it’s just a suggestion,” he said. “Who can predict what Trump will do next. You may have heard the nickname that Trump has been given: Taco; Trump, always chickens on prices. This is what we can hope to happen again with regard to our industry and suggested protectionism placed on film and television.”
Ted Johnson contributed to this report.
