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Author:  Colin Vaines Executive Vice President of European Production and Development, The Weinstein Company

Studio Satellite Operations

Many of the US studios now have some kind of satellite operation established in the UK. The aims of these operations and the way in which they work varies considerably between the different companies, with the relationship between the executives employed in London and the head office back in the US often being the most significant factor in how the satellite operates. One thing that they have in common, however, is that they all prefer British producers to use them as a conduit to their parent company rather than going direct to their US head office.

The studios' interest in satellite operations has tended to vary according to market conditions in the US and how films from different territories have performed in the North American market in recent years. The recent international success of films like Bend it Like Beckham and 28 Days Later has stimulated interest in low budget British films that can command a reasonable audience in North America and make a profit for the distributor. The studios are competing hard for new talent and films that they believe can deliver significant profits relative to their production and distribution costs. Despite this current heightened awareness of British filmmakers, however, there is always a danger that the major US players will close down their satellite operations if there is a change in market conditions or if they do not deliver the non-US successes that the studios are looking for.

The Miramax London office, which has a staff of 12 to 15 people, is different from the other satellite operations because it is more closely woven into the structure of the head office in New York. As Executive Vice President, European Production and Development, for Miramax, Vaines is responsible for development across the whole slate, not just for British or European projects. Films developed in London are an integrated part of the company's overall slate - not an overseas add-on to the "main" US releases. Contracts for British product, and as many other aspects of the production as possible, are generally handled out of the London office rather than being remitted back to the US.

What the Studios are Looking for

It is impossible to say what the studios will be looking for at any given time. They will be influenced by recent successes, but will also be looking for fresh, interesting ideas which have been translated into great scripts. Too many of the 100s of scripts that each studio receives each year are derivative and boring. The studios will look at films of any genre as long as they are interesting and well written or conceived. The overall standard of writing does not differ markedly between the US and UK, but scripts in America tend to have been worked much harder before they are submitted for consideration which means that the quality is often better.

Miramax will look at films at any stage of development from treatment through to finished production, or even a film that has already been sold in some territories but still has some key countries available. Decision making at the company is in the hands of a small group of people, which means that they are generally able to take production and acquisition decisions more quickly than the studios.

One key difference between the studios and the film financing network in the UK (and particularly those aspects supported by Lottery funding or tax breaks) is that there is less pressure on the US companies to put films into production. Here, financiers are keener to move films into production because that is the key to releasing the finance, some of which might be dependent on starting the film before the end of the fiscal year. This can lead to films being rushed into production too quickly before all the script problems have been sorted out. The studios have the time and money to make sure that everything is absolutely right before the cameras roll. (Although it should be noted that the ongoing commitment of major talent to future projects in the US sometimes means films do go into production before the script and other crucial elements are entirely finalised.)

US producers tend to be more professional when pitching projects to the studios. UK producers need to make sure that they are concise, precise and clear about what they are selling and understand what the studio will be interested in buying. Too often, UK producers appear to be under-prepared and lacking in focus when they pitch. If they are in doubt about their pitching technique then they should just submit the script with a note about any elements already attached and leave it to the development executive to make their own mind up about the strength of the material. UK producers also tend to want to move into production too quickly in order to release their fees (which they may need to access in order to keep their company afloat) and will put tremendous pressure on production companies to commit to their films. This is another reason why too many films go into production before they are fully ready.

The most important thing is for everyone involved in the film to have the same shared view of what the film should be. This means that producers need to understand how the film will be marketed and the distribution and marketing people need to understand fully what the film makers are trying to say. In Miramax, this process is helped by the central role that the Weinsteins play in the company because everyone involved knows what they are looking for and what the house style is. Miramax operates autonomously from its parent, Disney, and has a distinctive style separate from the parent. Miramax can green light films up to a certain budget without referring their decisions back to Disney, who only tend to become involved with production decisions on projects which they are co-financing.

Top Tips

• The studios are competing hard for new talent and films that they believe can deliver significant profits relative to their production and distribution costs.
• In choosing new projects, the studios will be influenced by recent successes, but will also be looking for fresh ideas which have been translated into great scripts.
• UK producers need to make sure that they are concise, precise and clear about what they are selling and understand what the studio will be interested in buying.
• Everyone involved in the film must have a shared view of what the film should be. The producers need to understand how the film will be marketed and the distribution and marketing people need to understand fully what the film makers are trying to say.