Producenter ger FADar mer makt

I ett mål i Arbetsdomstolen mellan Teaterförbundet (Kärande) och Medieföretagen / Svensk Filmindustri (Svarande) dömdes till svarandes favör. Där AD fastställde att en så kallad FAD (First Assistant Director, typ av inspelningsledare) är en så kallad a-position, i beslutsfattande position vad gäller bland annat tid, och kan beordra övertid eller stoppa en inspelningsdag och därmed inte har rätt till övertidsersättning. En FAD har så att säga enligt domen makt över sin egen tid och “behöver” därför inte ersättas med övertidsersättning.

Gott så!

Som FAD tycker jag detta är helt ok. Detta innebär nämligen att vi som a-positioner bör ha en lön, semesterersättning och annat som i sig kompenserar för eventuella övertid. Något som Teaterförbundet även kommer att driva. (Teaterförbundets uttalande här) Detta innebär även enligt domen att vi som FADar har rätt att självständigt beordra övertid eller stoppa en inspelning. Om nu producenterna som vittnade i detta fall, Börje Hansson, Martin Cronström, Serina Björnbom och Sanna Ekman, drar denna logiska slutsats ser jag fram emot ett annat löneläge och förhandlingsläge för oss FADar. Jag hoppas även att de sprider detta till sina producentkollegor. De bör ju följa sina egna rekommendationer och vittnesmål.

Jag tror dock att producenterna, framförallt de ovan nämnda, biter sig själva i svansen. Eller så kanske de ovan biter alla andra producenter i svansen eller gör sig själva och sina kollegor en björntjänst. De vill kortsiktigt vinna målet i AD men långsiktigt innebär det andra konsekvenser.

Varför? Jo det är så här…

Inom svensk långfilm finns lång tradition av samtal och diskussion. Precis som i övrigt svenskt arbetsliv men mer så i filmindustrin på grund av produktionsprocessens art. Det är kompromisser och flexibilitet i positioner och lösningar som har gjort att vi som ett i princip obefintligt litet land kan ha en filmindustri som producerar långfilm som är konkurrenskraftig inte bara i sverige utan även utomlands. Detta system har gjort att vi kan göra långfilm med god kvalitet med team som är en bråkdel så stora som tex amerikanska. En långfilmsbudget i sverige kan jämföras med transportkostnaderna på en medelstor hollywoodfilm. Det går alltså inte att överföra “The american way” rakt av till sverige.

I detta svenska system har det varit producenten som tillsammans med FADen och regissören och ofta med fotografen har arbetat fram eventuella paniklösningar, stopp, förlängningar osv. Sedan har man frågat teamet om de ställer upp. Eftersom svenska filmarbetare är otroligt lojala och kompetenta har man ofta kunnat arbeta fram lösningar som får filmen gjord och som är ok, inte perfekt, men ok för de inblandade. Sådana paniklösningar blir det ALLTID på en långfilm, TV-serie, reklamfilm osv. Det är film!

Men detta system innebär också att FADen INTE har ensam beslutsrätt vad gäller övertid. Vare sig för teamet eller sig själv. Detta har i och för sig gett en stark producent väldigt stor makt men det kanske i det svenska systemet är nödvändigt för att det skall fungera. Har regissören varit stark är det han eller hon som har haft makten. Men genom en tradition av sammarbete har det fungerat.

Jag har aldrig hamnat i någon konflikt som inte kunnat lösas på grund av detta med vare sig producent eller regissör. Vad gäller teamet så har det rättmätigen knorrats ibland men det har löst sig. Men på vilken arbetsplats knorras det inte? Vi har varit oense men om producenten sagt “kör på” eller “stopp” så får man helt enkelt förhålla sig till det, och går det inte så går det inte. Men att på detta sätt inte ha kontroll över sin egen tid skall regleras med övertidsersättning som regleras i kollektivavtal. Vilket ovan producenter indirekt har gått med på genom att säga att FADen är en a-position.

Genom denna dom och sina vittnesmål har ovan producenter öppnat för att FADen har befogenhet och kontroll. Genom denna dom har ovan producenter vittnat om att FADen är och har befogenhet som en a-position. Därmed ger man även bort en del makt och ansvar och måste vara beredd att betala för detta. Precis som i övriga arbetslivet. A-positioner kompenseras genom en mängd olika delar pengar, semesterersättning och kreditering i eftertexterna före eller i början av filmen.

Jag är inte säker på att detta är en bra utveckling för svensk filmindustri. Det jag vet är att FADen borde komma in tidigare, ha lite mer lön än standard idag och ha en öppning att förhandla bort övertiden.

Denna dom, om nu producenterna följer den, cementerar en struktur och skapar en oflexibilitet som inte gynnar producenterna eller svensk filmindustri. Jag producerar själv en hel del och jag vet att alla produktioner är olika och kräver olika modeller vad gäller team, struktur, löner, ersättning osv. Jag skulle själv bli väldigt upprörd om en FAD jag anställer själv stoppar eller förlänger en inspelningsdag. Det går bara inte. Men enligt ovan producenter skall detta kunna vara fallet.

Det skall bli intressant att se producentföreningens svar på detta. Det vore olyckligt om de strikt följde domen anser jag. Svensk filmindustri behöver standarder för ersättning men flexibilitet i vilken lösning som appliceras i de olika fallen. Det bör vara öppet att välja mellan en lön baserad på reglerad arbetstid och övertidsersättning eller en ersättningsmodell som kompenserar för övertid.

Domen i arbetsdomstolen

Teaterförbundets kommentar

/Daniel Chilla, FAD, Regissör och Producent

Lots of structure but story?

A MIPDoc report

“Lots of strucuter but story?” – That’s how I could sum up the MIPdoc conference in Cannes between 30st to 31st. A pre-conference for MIPTV. Talks and sessions where on what buyers want, how co-productions have worked and about how the industry works. But in all this the story, which I think is key to any experience, was hardly touched upon. Which, I have to add, suited me fine.

I came to Cannes on a whim. I come from feature and commercial film production as a director, 1 st AD and producer so the documentary field is all new to me. But I am starting a documentary project. A character driven film about how education influences friendship and dreams in a small village i Zambia. I have a strong transmedia (i.e. new media used to turn the passive viewer into active participant) angle. And want to understand the business: where to start, what contacts are needed, how the money flows and so on. In that sense MIPdoc was perfect for me.

I was honest and told all the people i met, commissioners, producers, broadcasters and more that I didn’t know anything about docs but a lot about story and I need help. And help i got.

The MIPdoc schedule was well suited for me and all sessions interesting. There are four things that I can pick out. That where essential to my visit:

1 – Networking

MIPdoc has a really laid back attitude and is well suited for informal talks and networking. All participants are open minded and want to listen even though I didn’t hide my insecurity. I had great talks with almost all the commissioners. Although very short talks (they are busy people) they where honest: I want that, that’s not good, where is the story, do you have a production company, no Im not interested, please send me an e-mail with material and so on. All where very open but direct and for a week minded that can be tough. Honesty is tough sometimes but I feel it is needed so you do not spend time on producing something that no one wants to buy.

Also the twitter feed and connections made by @_mip_ where great. The tweetup on friday was great. Creating a space to really meet people you have only seen as less than 140 characters in text was great.

2 – New media is old media

Since I come from the transmedia business, where I’ve produced and directed large projects and also held lectures on the subject, I have a high sense and great appreciation of the reshaping of the viewer from passive to active. The documentary field has not yet come to this step.

There is a movement and understanding on the financing side with Indieagogo and other crowdfunding sites. But when asked about participation, turning the viewer form passive to acitve and actually letting the viewers participate and influence the films and shows, I got blank faces and silence. I actually asked about this on the ”What do buyers want” session and the panel could understand ”Social Media”, ”Facebook” and ”Twitter”. And to be honest I think they see it as discussion boards or marketing tools. Not as tools for actually engaging with the audience.

So the media and usage of it is not up to date. New media seams to be used in old media style and fashion. Push the message is still the working model.

The lecture given by Asta Wellejus and Anna J Ljungmark on ”New transmedia/factual programming” was an example of this. I think many in the audience don’t know what hit them. The cases and studies presented where well analyzed, although maybe too many cases at one time, but I do not think the audience understood how this could affect them or how they could use these powerful tools.

To bridge this gap I think transmedia needs to learn the language of the areas of business that it uses and not create its own strange lingo. I also think that transmedia people need to do the job and not crusade around the world calling it transmedia. You should just present the project, its story and key driving elements. And never ever utter the word ”Transmedia” it makes the commissioners and documentary people run away. It pushes them out of their comfort zone.

Which brings me to the next thing: a transmedia project that was presented without ever mentioning the word. Brilliant:

3 – One Day On Earth

This was the closing keynote and a brilliant one as such. The room was almost empty, which realy is a shame since it was not only a brilliant insight to new media, new technology, new ways of working and changing the world but also a great example of a transmedia project that every commissioner, producer, broadcaster and more could understand.

One Day On Earth” is a project that started out as a film idea: film one day on earth in every country around the world and edit it together and is now a movement with filmmakers all around the world. The first film was filmed on 2010-10-10, the second on 2011-11-11 and is now funded by the UN.

On of the founders, Brandon Litman, spoke passionatly about how they created the community, gave them emotional equity back and got people in ALL countries around the world to engage in the project for free, that includes professional filmmakers. Moderator, Pasa Mustafa, was a good guide through this interesting session. Brandon showed that if you have the right idea, take care and listen to your community, if you are clear on what you want to make and the idea appeal to people anything is possible. Even filming in all countries around the world on the same day and then editing it as one film.

A true transmedia project without the word being uttered even once by Brandon. Brillliant. And you should have been there!

4 – My biggest learnings

My biggest learnings from the two days in cannes would be…. many. But to pick out a few that I can share:

– When you pitch, as Ove Rishöj Jensen explained: You have to answer the three ”W”: Why this film? Why now? and Why you? A pitch is a new story, new adventure, new partners. Look for the “spark in the eye”? What connects you and the one you are pitching to. Adjust the pitch to the audience. And plan the three main parts as well as possible: The oral pitch, The writing and The visual presentation

Adam Gee pointed out if you do use new media, transmedia, 360 or whatever you call it, you need to know what you bring to the table. What does this add to the idea/concept. A self sustained film does not need any interaction. You need to know why you are adding new stuff.

– And from many commissioners: It is not possible today to raise money without numerous partners. You need to find partners that really work cause they are going to be involved in production.

Conclusion Friendly, honest and traditional

So to sum up the MIPdoc days it was very informative and well arranged event. With focus on structure and financing. Unfortunately there didn’t seam to be many production companies there so it was more about the ”politics” of the game than the productions themselves. Which for me was very good.

The commissioners, I’ve heard often regarded as narrow minded gatekeepers, where nice and friendly people and very honest. Which is helpful but can be hard you as a creator. But I will thank the people who sopp me if my idea is not good or couldn’t make it in the cinemas.

So all I would recommend all documentary filmmakers, producers, directors and productions companys, to come to MIPDoc.

I want to encourage all filmmakers to contact the commissioners and producers. They need content and you need to know if your ideas are worth producing

Hoe to see you there next year!

/Daniel Chilla

Im gonna sell my “Girls with the dragon Tatoo” car – Original Film!

My beloved film-car needs a new owner!

My beloved passat 92′, german import, has to be sold. Its in quite good shape but the brakes need to fixed. It has not been registered or driven the last 2 years but starts directly.

The real deal

Now for the best part: Its been in the movie Girl with the dragon tattoo (Män som heter kvinor) the original edition. Where I also worked on the crew as a 1st AD. They’ve all been in the car! It was Gunnar Brännlund’s car in the scene where Mikael and Lisbeth see the place for the first victim, Sara Witt, in the stables.

The Car in the film

The Car in the film

So if you want it you bid in the comments below….

Test of GoPro angles

I got my self a Gopro Hero 2 Outdoor Edition as a Christmas present to myself. I started to explore it and made so angle test to see what actually…

  • 170º Wide FOV (Including 1080p)
  • 127º Medium FOV (In 1080p)
  • 90º Narrow FOV

…means and looks like. The filmflies are raw and do not have any grading. I haven’t even looked at them in a vectorsscope or such so I do not at the time, know how much info there is in the images.

From a first glance, frist thoughts:

  • …the blacks start to crawl/noise a bit
  • …the auto white-balance isn’t that good
  • …the wide angle looks good and has a nice “pull” in it
  • …the framing is realy a guess
  • …the tough housing and water resistance are the big things about this camera.
I dont know why but my embed code doesn’t seam to work… So follow the link…..

Gopro Hero 2 Angle Test

Gopro Hero 2 Angle Test

 

Aalbæk Jensen never fails to deliver…

I just remembered a Masterclass I attended with Peter Aalbæk Jensen during the Stockholm International Filmfestival. As expected he was a good speaker and storyteller.

Some things i checked afterwards with people who had worked with him on his projects and if I am nice i would say that he added some Moms, as we say in sweden. That is he added some VAT extra percentage to flavour his storys a little. But that’s fine, if you know it.

But there is one quote that I will never forget. He gave his one-liner to Breaking the Waves:

“Breaking the Waves is a film about a girl that fucks her way to heaven”

Its a perfect school example of how to create an unforgettable but yet explainable oneliner. If I where a producer and someone would elevator pitch this to me Id certainly would give that producer or director a meeting.