Corinna Marschall, the Managing Director of MEDIA Desk Suisse talks about Switzerland in relation to Europe.
Teresa Vena
What role have MEDIA Desk Suisse’s compensatory measures played since Switzerland had to leave the European MEDIA programme ten years ago?
Our task was to replace the most important of the discontinued funding lines, which meant securing a diverse range of European films in our cinemas and bolstering the development of new films. We started with six funding lines. In order to facilitate a re-entry into the European programme, it is crucial that we stay as close as possible to the European guidelines.
Did you also introduce your own measures?
We have implemented funding for the co-development of audiovisual projects in which Switzerland is a minor partner. This measure is not identical to a funding line by Creative Europe, but it incorporates a restructuring of project development funding on a European level and combines it with the specific needs of the Swiss film sector and the Federal Office of Culture (FOC). By supporting the involvement of Swiss production companies in the development process of a project that starts abroad, Swiss elements can be positioned in it at an earlier stage. This makes it possible to achieve greater artistic influence and to have an economic impact, for example, by filming in Switzerland or involving Swiss talent.
Have you also been able to respond more specifically to the needs of the Swiss film industry than the European model would allow?
When we were a MEDIA member, the success rate in project development fluctuated greatly. Every year, between three and thirteen projects from Switzerland were funded by the EU programme. With the compensatory measures, we have a fixed annual budget of around 1.2 million Swiss francs and can support the development of 22 to 23 projects. Funding a project in the development phase bears less financial risk than in the production phase. As a result, we give more projects the chance to complete a longer testing and development phase before the expensive production phase begins.
What were the biggest challenges?
During our membership in the EU programme, the Desk “only” acted in an advisory capacity for Swiss applicants. For the compensatory measures, we had to reconcile the European rules with our national regulations and set up an administration. This was previously handled entirely by Brussels.
What are the biggest disadvantages for Switzerland by not participating in the EU programmes?
It is hardly possible to compensate for automatic participation in European networks that would facilitate the sale of Swiss films abroad, for example. It is also not possible to work separated indefinitely from almost all European competition without losing touch in the long run. Compensatory measures create a safe area that can also be fruitful for a while. But in order to develop further, you have to measure yourself against the strong competition. Participating in larger projects can also help. Although personal networks are still being established by the younger generation, for example, through further education, there is a risk that Swiss production companies will no longer be seen as natural partners for major projects in the long term. In addition, Switzerland still has no access to new funding measures launched by the EU in response to changes in the market. For example, Creative Europe has reinforced the creation of series in a co-production environment and supports computer games and innovation projects.
Why does Switzerland need co-productions?
Switzerland is a small country. Even if you have a lot of money yourself, you always need partners in order to attain higher film budgets. In addition to these purely financial reasons, co-productions lead to inspiration and artistic exchange. Furthermore, they allow Swiss professionals and Swiss talent to participate in international projects. This in turn promotes their own expertise. Co-productions also have it a bit easier in the market because they are distributed in at least a second co-production country – which is often a bigger market than Switzerland's – and can be seen by a larger audience.
Can you name any projects that you have supported that have been particularly successful?
A quarter of the projects that we have supported have premiered at important international festivals. Half of them were co-productions. For example, we supported the development of “The Divine Order” by Petra Volpe, which was a great success with audiences. Or the SRF series “Davos 1917”, a co-production with Germany with an enormous budget of 18 million euros; and “Ingeborg Bachmann” by Margarethe von Trotta, a co-production between four countries. We provide a building block to get a project off to a good start, after which further partners are needed to complete the films.
Image: Sabina Bobst