Talking to... THOMAS REICHLIN

BLACKBIRD BLACKBIRD BLACKBERRY was a coproduction with Georgia, Klaudia Reynicke’s REINAS was coproduced with Peru and Spain and you worked with producers from Kosovo, France, Macedonia and more: What are the challenges and/or the advantages of working with producers from other countries? 

Every production is unique and has its own challenges. Likewise, every producer is unique and brings different skills to a collaboration. By coproducing we can supercharge the potential of a project: by relying on every producer’s network, access to talent, access to financing, knowledge and skills we can push a project further. This is in my opinion the single greatest part about coproduction. 

Collaborating obviously comes with its own share of challenges: more people mean more opinions and more coordination. But I would say that, currently, the greatest challenge in coproduction is ensuring that all financial stakeholders are pleased. More and more of the funding has become very constraining and the requirements often clash or are contradictory outright. So, finding a good balance between different stakeholders without compromising on the project’s potential has become the most challenging aspect of coproductions.  

What do you need to bear in mind when telling stories for audiences with very diverse cultural backgrounds? 

At Alva Film, we strive to produce content with stories that are universal. Themes such as love, independence, family and adolescence are part of every culture and therefore are accessible to every audience. What we often need to keep in mind in the film we produce is how different audiences will perceive and understand certain elements of a story. Some popular references might not translate, certain jokes — especially word plays — might not come across the same way. So we try to be very attentive to how other audiences might interpret these.  

BLACKBIRD BLACKBIRD BLACKBERRY takes up themes around societal norms, love and independence. What does a new project need to convince you as a producer? 

I have been asked this question before. But I still don’t have a great response, although I had promised myself, I would try. So here is my best effort: I would say that the most important factor – especially for author driven production – are the authors. So obviously the track record plays a big part, but equally how the collaboration with the author is, how well the communication flows, how I feel discussing the project with them. After that, the quality of the project, how pertinent it is nowadays, what it can bring to audiences. And lastly, as a very personal preference, I enjoy stories that are hopeful and empowering. I always seek to watch series or films that make me feel hopeful about the world and us humans in it. I like to feel empowered, and I like to feel that it is possible to improve the world. I like stories that remind me that every little positive contribution is meaningful. 

What do you expect to achieve by taking part in Producers on the Move? 

I am very pleased to take part in this year’s Producers on the Move. I especially look forward to meeting the other participants and to exchanging with them about the challenges they are currently facing. I am also very thrilled to build new thriving work relations.  

EFP Producers on the Move 

The programme gives 20 promising emerging European producers from 20 European countries the opportunity to enlarge their international network at the Festival de Cannes, meet potential coproduction partners and sales companies, take part in project pitchings, case studies, social events and a comprehensive promotional campaign.