It is also recommended to evaluate these and other important points and other terms and conditions and to sign the co-production agreement before production begins. Otherwise, several contractual issues can be considered deadlocked and production may suffer from litigation. Each co-producer should study the financial context and the projects referenced by other co-producers to avoid surprises during production. The ICAA (Institute of Film and Audiovisual Arts, which is part of the Spanish Ministry of Culture) signs and manages co-production agreements to facilitate filming agreements between Spanish and foreign companies. Co-productions governed by international agreements are considered domestic productions, which means that access to financing is the same as for productions that are only national. There are two types of agreements, multilateral and bilateral. Below is a list of current agreements: Underlying fees, financing, overspending, underpending, insurance and credits are some of the other titles included in co-productions. Film co-production should be seen as the construction of a new structure within which all levels and third-party relationships between co-producers and their experienced legal advisors in this area should be firmly established. – European Agreement of the European Union on bilateral film co-production Appointment of one or two delegated producers for the day-to-day management of production and important decisions is generally favourable to the film.
National and international funds generally require a delegated producer for application procedures that facilitate paperwork and the application process, but they should be carefully designed as part of the co-production agreement to protect the rights of other co-producers. The other headline is the intellectual property rights of the film and its ownership. In principle, the rights should be jointly held by all co-producers on their shares and the appointment of a global distributor should be decided jointly. Another point on which co-producers should decide is that of exclusive and shared areas, and requests for national funds should be taken into account. When defining territories, it is best to be as specific as possible in order to avoid future discussions (for example. B Benelux rights include French-speaking rights?). IFTA`s guides and documents can be considered as a framework and the transmission issues and technologies needed should be addressed as part of the co-production agreement and distribution agreements. If applied to more than national or regional funding, the relationship between these funds, restrictions, methods of changing co-producers` shares and the necessary documents should be carefully evaluated. Bilateral film co-production agreements facilitate and encourage co-productions between the film industries of the countries concerned. Audiovisual co-productions, governed by international conventions and considered national as such, can benefit: international co-productions are films produced in joint production with foreign companies governed by the international conventions in force or, in your absence, by the general rules of cinema legislation. The structure of offers and projects will be different in practice.
Most of the time, one of the co-producers will be the main producer who wants to have a final say on the creative and artistic part of the production.