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Good fiction is a commercial worth

c1d93084b03c763cd8c7d53fdbe24124 - Good fiction is a commercial worth

An episode of a Flemish fiction series takes soon half a million: peanuts, compared to foreign productions. If we had more of that want, we will still commercials must watch.

Last Sunday’s 13 commandments of started on Channel 4 – the VTM-series, with Marie Vinck is with us still not being broadcast. The New York Times chose Spitsbroers as one of his ten tips for the new …

Last Sunday’s 13 commandments of started on Channel 4 – the VTM-series, with Marie Vinck is with us still not being broadcast. The New York Times chose Spitsbroers as one of his ten tips for the new tv season. The range, which in the United States, The Score will be called, is there to see via the British online Walter Presents, that Tabula Rasa is broadcasting. Netflix offers Beau Séjour worldwide.

Flemish fictiereeksen are beautiful export products have become – why minister of Culture Sven Gatz (Open VLD) than to sound the alarm? Yesterday he went Netflix in Silicon Valley asking them to invest in our fiction (that is, on condition that the productions can choose) and this morning he said that he is considering to flush the advertising ban.


That flushing occurs at the delayed look, and there’s the problem. Fiction was never so much viewed as it is now, but the live viewers calve off, ” says Kristof Hoefkens, the creator of the VTM-series Spitsbroers. ’With Spitsbroers , we took a 400.000 à 450.000 viewers live. Postponed were that there is more than 700,000, with peaks of up to 800,000. More and more people are taking a whole series and that bingekijken after broadcast. A commercial station has not a lot that delayed viewing: advertisers pay for viewers who have their complaints. For the providers it does not matter how a viewer looks at, which always pays the same subscription. It is a dilemma for commercial broadcasters: fiction of our own soil is a huge success, but is coming under pressure.’

Because fiction is not cheap. ‘There are three business models, ” says Peter Bouckaert of Eyeworks (my Own breeding, Cordon). ‘Either the government pays. That is not free, since we pay all. Either pay the viewer via subscription, like Netflix. Either pay someone else, the advertiser, for example. You watch free, but the advertisers want in exchange that you go to their spots watching.’

Game of thrones nicked

These models are threatened by piracy – the millions of people who Game of thrones illegal download because they do not subscribe to pay-tv channels that it emits, and do not want to wait until the series is available on dvd or paid download. Bouckaert also speaks of theft when you are advertising in one way or another skip, ‘for example, by adblockers to use if you digital a newspaper or magazine is read, or the commercials of tv skip a beat.” Actually it would be a subscription without advertising more expensive, by analogy with what muziekstreamingdiensten as Spotify and Deezer already do. “For our economy, which is increasingly a digital service economy, is that theft is the biggest threat,” says Bouckaert.

Fiction is after all a huge investment. On the ochtendradio showed someone the estimate of € 400,000 per episode fall. “In the past we made a delivery of fifty minutes for a 350,000 euros,” says Helen Perquy of Caviar, the executive producer of Tabula rasa. “But now is 500.000 to 700.000 euro for a delivery is not uncommon.’ Bouckaert says that Cordon, that was broadcast on BBC Four, almost 700,000 euros per episode cost, Perquy think that Tabula rasa in the near lag. “Compared to a series like The bridge , that is cheap: who has a budget of 1.3 million euros per episode. Versailles took 30 million for ten episodes, the creators speak of 25 million but I know that they have five million over budget have gone.’

100 wages, 1 scene

What Flemish actors well earn their living. Perquy laughs heartily over the phone. “If you Veerle Baetens, only in the house sees in Tabula rasa, there on that set, still have 30 to 35 people and you don’t see. And that, in the years that the images preceding it, still 50 to 60 people have worked on that scene: a hundred is a good estimate.’

‘Fiction, whether tv or film, is very labour intensive, ” says Bouckaert. ‘View but once the end credits if you watch a dvd, and count all the names. All the people except the thus are paid. To Cordon is seven years.’ He begins a long list full of ideeënontwikkelaars, screenwriters, people who are financiers search, actors choose and auditions, cameraman(s), set builders, costumiers, make-upmensen, sjouwers and builders, cateringmensen, locatiezoekers, controls, permissions, and so on.

‘You look in advance which scenes on which day it is; not all of your actors are available every day, and the locations are also not. For a discotheekscène you have maybe three weeks after another shooting on the only closing day of that nightclub. A location rent is expensive, but it still needs to be dressed: the house of Tabula rasa was fixed, not with that interior and furniture.’

How much is a song?

“If you calculate that 10 to 12 shooting days per episode are required for a prestigious series, and that there are easily 50 people on that set, then you know that you for wages alone, 30,000-40,000 euros per day. On such a day you turn two hours of material, which you than seven minutes left.’ Follows a series of workers: mechanics, bruiteurs that screeching tires, or to add a voice in the phone sounds. The actors sat down to a blank tv-screen look, there will be a program in mounted – after one of them has the rights obtained and paid for, which also applies for the used songs. “I wanted to get into Tabula rasa like the song ‘Memory’ to use’, says Perquy. “We have the rights for the song, but to not even to be paid to the original contractor, we have him re-do warming up.’

Visual effects are expensive; that of Tabula rasa were widely believed. “The scene in which Veerles head and arm stukvallen is in a studio turned, what Flemish series, not so often do it, because it is much more expensive than on location,” explains Perquy. ‘They danced in front of a green screen, where afterwards everything was on. That has Tabula rasa is more expensive, but I have that extra investment be defended: we wanted them to finish on a level that they are also sold internationally. This has been successful.’

Invisible, but essential, effects

Everyone thinks of visual effects in fantasy and science fiction, but they are also emerging in productions where you don’t expect. ‘You don’t expect visual effects in a film like Marina, “says Bouckaert,” but in the scene where the Italian family is vested in the barakkendorp, you can see two towers of the mines. The village we are on a football field; one tower was already there, the second we must bijtekenen, just like the slag heaps. It is a little perverse: if you can do this, the viewer sees it not, but if you don’t do it, he would feel that it is not true – a mining district without slag heaps?’

Even the zorgvuldigste planning may not prevent you later on must be expensive to make changes. “We had the first series of The judgment is recorded, when king Albert announced that he had resigned. In the hall of the court where we had filmed, were of the staatsieportretten of Albert and Paola. Our range of would-dated look at the first broadcast! We have the house you are contacted, that our new portraits of Filip and Mathilde have worried. Those were already created, but not yet known, so we had a confidentiality clause to sign. And then we have the new portraits image per image on.’

He has made the point: filming is labor intensive. “But it is also future-oriented,” says Bouckaert, ” there will be no raw material, you create work in Belgium, that you are not in China or India can do it for you, and you have an exportable product. Don’t forget that the Danish audiovisual sector is already a few years are most important or second most important export product.’

‘They knew abroad, that we are good directors and cinematografen have, “says Perquy,” and recently, they know also our actors. Now come to our technical people. It would be unfortunate if we now by shrinking budgets that lose ground. Our series, which is also Flemish culture: it would be a huge cultuurverarming as our ambitions for fiction down would need to adjust due to lack of funds.’

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