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newsletter - january/february 2014

Dear peacefulfish members,


As 2014 gets underway, and with the Berlinale just around the corner, we bring you the latest installment of our community newsletter, providing you with details about recent peacefulfish activities as well as activities being planned for the Berlinale, including contact information for you to reserve your places for those events. ggg

Under our Public Subsidies & Tax Incentives section, we present a round-up of recent film, TV, and videogame news in relation to public subsidies and tax incentives with a specific focus in this edition on some of the key facts and figures pertaining to Creative Europe’s new MEDIA Sub-Programme and what these facts and figures mean for content producers seeking public subsidies at the European level.   

This edition also includes a Trendspotting section focused on New Funding Sources beyond public subsidies and tax incentives, providing an overview of international film funds and other non-governmental financing opportunities that have been launched in the market over the past several months.  

peacefulfish’s Closing The Gap training and equity investor pitching session has launched a new call for applications from producers. Founded in 2010 with the support of MEDIA and now in its 5th Edition, Closing The Gap has been attended by over 65 international producers to date. The Winter/Spring 2014 Edition of Closing The Gap is supported by the Apulia Film Commission and the Investitionsbank Berlin, and the deadline to apply is 18 February 2014. To learn more about the program, and to download an application, visit:

Also, peacefulfish will host two information sessions during the 2014 Berlinale. The sessions will take place from 10:00am to 12:00pm on 8 February and again from 10:00am to 12:00pm on 11 February at the Tagespiegel Office, Room E, Askanischer Platz 3 (a 5 minute walk from the Martin-Gropius-Bau EFM location). Topics covered will include the Closing The Gap equity investor training and pitching session; the availability of original music funding and soundtrack services provided by peacefulfish sister company Just Temptation, and the 3D Content Financing Market held annually in Liege, Belgium. There will be a Q&A and light refreshments will be served. Seats are limited, so please send an e-mail to Lisei Galpin requesting to reserve your place by 31 January 2014:

As always the aim of these newsletters is to inform our community about new opportunities that could help shape your company strategies in the coming year. If you have any questions, or if you want to learn more about the services that peacefulfish offers, please get in touch via the Newsletter Contact section below.


All the best,

Thierry Baujard




>>> ENTER Europe

A MEDIA-supported training program for financiers from outside the film industry designed to educate them about investing in the film industry, ENTER Europe completed its first edition on 11 December 2013. The course culminated in a two-day workshop hosted by the Apulia Film Commission at the Cineporto in Bari, Italy and saw the selected financiers presenting their revised ‘investment product’ proposals to a select group of already-established film industry investors and experts.

For more information on the upcoming call for applications in 2014, contact peacefulfish senior partner Juliane Schulze, who is the course director of ENTER Europe at or visit the website:



peacefulfish also launched ENTER UK, a training program supported by the UK’s Skillset Film Skills Fund that aims specifically to assist UK  financiers and professionals active in the UK financing sector to identify film financing and investment opportunities and better evaluate risks linked to the film industry. The training provides capacity building for investors and bankers to better utilize available film financing tools to develop new and competitive film investment and lending products for the UK.

For more information on the upcoming call for applications in 2014, contact peacefulfish senior partner Juliane Schulze, who is the course director of ENTER UK at or visit the website:


>>> 3D Content Financing Market

On 4 and 5 December 2013, the 3rd Edition of the 3D Content Financing Market (3DFM) took place in Liege, Belgium as part of the 3D Stereo Media Festival. The 3DFM is a co-production market where producers with stereoscopic-3D content (including, but not limited to, films) can seek additional partners and financing for their projects. peacefulfish acts in an advisory capacity and collaborates in organizing the market, which saw the films Cunningham 3D and Heart-Core win pitch prizes at the conclusion of the most recent edition. For more information, visit the market’s website:


>>> Closing The Gap

peacefulfish’s training and equity investor pitching event Closing The Gap completed its 5th Edition in November 2013 with a four-day session hosted by the Investitionsbank Berlin (IBB). The event saw 24 international film, TV, transmedia, and games producers pitching their projects to a panel of equity investors including individual business angels, representatives of business angel funds, venture capital financiers, and gap equity fund managers. For more information about Closing The Gap, contact peacefulfish senior consultant Marc Robert, who is the course director at or visit the Closing The Gap website at:


>>> @Diversity

Managed by a consortium lead by peacefulfish, and which includes Kennisland and MFG, @Diversity - Innovative ideas for cultural and creative sectors in Europe is a project designed to select, train, and promote 15 ideas that make innovative use of ICT-based technologies to create, make accessible, spread, and/or finance cultural products. The 15 ideas were selected as the result of a competition that was launched in May 2013 and that ran throughout the summer, with the 15 selected entrepreneurs being announced at a high-profile event held during the European Culture Forum in Brussels, Belgium on 4 November 2013. @Diversity is a Pilot Project of the Directorate General Education and Culture in line with the new Creative Europe Programme and the Digital Agenda for Europe. For more information, go to:




In this edition of the Public Subsides & Tax Incentives section of the peacefulfish newsletter, we provide a specific focus on some of the key facts and figures pertaining to Creative Europe’s new MEDIA Sub-Programme and what these facts and figures mean for content producers seeking public subsidies at the European level.  


>>> In November, Creative Europe announced that the budget for development funding for projects from European producers would be increased by 4 million euro under the new MEDIA Sub-Programme. The amount earmarked to support the development of single projects or slates for animation, documentary, and fiction films will increased by 500,000 euro to a total of 17.5 million euro starting in 2014. For television projects, the amount of support will be increased by 1 million euro to a total of 11.8 million euro annually starting in 2014. And a new fund for the development of standalone videogame projects will be introduced in 2014 with an annual budget of 2.5 million euro. The call for applications for these funds launched in December 2013 and can found on the new Creative Europe website.  


>>> In related news, the MEDIA Sub-Programme has announced the amounts of funding available to producers of single projects and slates in the animation, documentary, and fiction film categories. For single projects with budgets over 1.5 million euro, producers whose Creative Europe development support applications are successful will receive fixed lump sums: 60,000 euro for animation projects; 35,000 euro for documentaries; and 50,000 euro for fiction films. (For projects in these categories budgeted under 1.5 million euro, the fixed lump sum is 30,000 euro). For slate funding, a producer can receive a maximum of 150,000 for documentaries and a maximum of 200,000 euro for animation and fiction films for an application comprised of 3 to 5 projects.     


>>> Creative Europe has also highlighted some changes in its TV support fund under the new MEDIA Sub-Programme. These include a change in name from ‘TV Broadcasting Support’ to ‘TV Programming Support’ with a view toward encouraging the production of European TV projects (both TV movies and series) that can be distributed in a larger number of countries. Specifically, the TV Programming fund will seek projects with an increased ‘European dimension’ that are pan-European co-productions with at least 3 broadcasters attached. Furthermore, none of the broadcasters can be a majority co-producer of the project and none can have a financing share in the project that exceeds 70%.


>>> Additional details have also been released by Creative Europe about its new development funding guidelines for producers, which clearly reflect the main, European-wide aims of the new MEDIA Sub-Programme. Creative Europe notes that whether producers are seeking development support for film projects, TV, or videogames that their applications will receive ‘automatic bonus points’ as part of the MEDIA Sub-Programme’s point-system assessment: 1) if the project is a co-production with another country whose language is different than the applicant country’s language; 2) if the proposed project targets an audience under 16 years of age; and 3) if the applicant comes from a country with low production capacity as defined by the MEDIA Sub-Programme. These guidelines were formulated based on the results of an analysis conducted about the impact of the activities under the previous MEDIA Programme.           


>>> Finally, with regard to Creative Europe’s new MEDIA Sub-Programme fund dedicated to the development of standalone videogame projects, as mentioned above the total annual budget for this fund is 2.5 million euro. This amount will be allocated in two strands: ‘concept development’ and ‘project development to playable prototype.’ Producers of videogames can receive between 10,000 euro and 50,000 euro for concept development applications while for playable prototype applications producers can receive between 10,000 euro and 150,000 euro in support.   



New Funding Sources (Fall 2013/Winter 2014)

This edition of Trendspotting focuses on new funding sources including international film funds and other non-governmental financing opportunities that have been launched in the market over the past several months.


>>> Vimeo Distribution Advances (International)

Video streaming platform Vimeo announced that it would offer 10,000 dollar advances to producers in exchange for an exclusive digital window of 30 days (or until the advance is recouped) to screen their films via the Vimeo-On-Demand service. This offer was made to all films that had world premieres at the most recent Toronto International Film Festival and signals the company’s formal entry into the film distribution business. Producers would be free to set their own price for their films and, after recoupment of the advance, revenue would be split with Vimeo 90/10 in favor of the producer.    


>>> Goldfinch Pictures (United Kingdom)

Nyman Libson Paul, a UK entertainment accountancy firm, has launched an Enterprise Investment Scheme (EIS) company called Goldfinch Pictures, which will manage a fund of approximately 4 million pounds to invest in around 8 feature films over the next several years. The accountancy firm is also setting up several smaller 'seed' EIS funds dedicated to specific subjects such as animation, horror, and Shakespeare-based projects. Investment in any one film can be up to 500,000 pounds.    


>>> POV Development Fund (International)

The Point-Of-View (POV) Development Fund recently made its first round of investments in three international projects. Based in St. Petersburg, Russia and created to assist in the evolution of film industry infrastructure in that city, the fund has invested more than 65,000 euro to date. The investments are repayable on the first day of principal photography and the main selection criteria include strong, cross-border distribution potential and also global festival potential.  


>>> Netflix EU (International)

While it is still early days with regard to Netflix's planned EU rollout of its VOD service, the company has already commented that is open to the idea of investing in the production of European series and possibly in the production of European feature films as well. Speaking as part of a hearing organized by the European Commission about the online promotion of European TV series and films, Netflix's vice president of public policy cited the company's interest in engaging with the European market not only as a distributor but as a co-financing partner as well.   


>>> Catalina Capital Fund (Australia/United States)

Set up by Larrikin Entertainment, the new 50 million dollar fund will invest in independent productions intended for international theatrical release as well as some studio productions. Australian entrepreneur Greg Coote will manage the fund along with David Calvert-Jones and former Silicon Valley banker Larry Lopez. Additionally, Harvey Weinstein will sit on the funding board and The Weinstein Company will have first-look privileges in terms of distribution and international sales of projects that the fund invests in.

newsletter - may/june 2013

Dear peacefulfish members,

Below please find the May/June 2013 edition of our newsletter, providing you with a round-up of the latest news about film & TV tax incentives and subsidies as well as details about recent peacefulfish activities.

This edition also includes a Trendspotting section focused on recent developments in the distribution sector. And we bring you news from our Brussels office as well, about EU conferences, programs, publications, and calls relevant to the creative industries.

Also, we are very pleased to announce the launch of the new peacefulfish website. You can have a look at the brand new design and content here:

Call For Producers To Apply: The Apulia Film Commission will invite selected film and TV producers to discover the city of Bari and the Puglia region of Italy as well as take part in the pitching session of the Puglia Experience scriptwriting workshop on 6 July 2013. The producers' flight costs, accommodation, and meals will be paid for by the film commission. For information on how to apply contact:

The deadline for applications from financiers for peacefulfish's new training program ENTER UK: Training Financiers For The Content Industry has been extended until 3 June 2013. The training is for bankers, business angels, venture capital fund managers, regional fund managers, etc. to gain a better understanding of the value chain of the audiovisual industry with a focus on emerging business, investment, and lending models. For more information, go to:

As always the aim of these newsletters is to further inform our community about new opportunities and trends that could help shape their company strategies. For more specific company investment news, check out our Media Deals newsletter, which focuses on European mediatech investment within the creative industries. Go to to register.

All the best,

Thierry Baujard


>>> In April, the UK government began offering a tax rebate for TV productions made in the UK with guidelines similar to those of the film tax incentive launched several years ago. Both fiction (drama, comedy, etc.) and documentary series can access the rebate as long as a minimum budget of approximately 1.2m euro per hour of TV content is spent. Up to 20% of qualifying costs will be returned to the producer under the new scheme and there is no yearly cap in terms of rebate funding available from the government.


>>> In addition to the new UK TV tax rebate, in April the UK government also began offering a tax incentive for game production done in the UK. As with the TV rebate, the game rebate requires that the applying company be based in the UK and that the production pass a cultural test with a minimum of 16 out of a possible 31 points. Also, a minimum of 25% of the "core expenditure must relate to goods or services used in the UK." Gambling games and games whose primary purpose is to advertise are excluded, although games that include in-game ads or product placement are eligible.


>>> Even as the negotiations between the European Council and the European Parliament continue to be ongoing with regard to the Creative Europe budget for the 2014-2020 period, it was reported in April that the current negotiations see the overall budget being approximately 300 million euro less than what was originally proposed in 2011. This would bring it to an overall amount of about 1.3 billion euro for the 7-year period.

>>> In a bid to create 1,000 more jobs and to increase production expenditure by approximately 236 million euro, the budget of Film London has been increased by approximately 885,000 euro to be spent specifically to promote and develop TV production in the UK capital. This move dovetails with the introduction of the new UK TV tax rebate mentioned above and aims to insure that London remains a filmmaking hub third only to Los Angeles and New York.


>>> Following an in-depth study about distribution support that Eurimages commissioned peacefulfish to carry out, and which was delivered to Eurimages at the end of 2012, the funding body recently launched a new distribution support program. Under the new program distributors in EU member states that are not part of the EU MEDIA Programme can apply for funding for marketing & advertising costs for the theatrical release of films in their territories (specifically Albania, Bosnia-Herzegovina, the former Yugoslav Republic of Macedonia, the Russian Federation, Georgia, Serbia, and Turkey). Furthermore, distributors not based in these countries but who intend to theatrically distribute films from these countries can also apply for this marketing & advertising funding. The aim is to support the distribution of projects from EU member countries that do not have access to MEDIA funding.


Developments In The Distribution Sector (Winter/Spring 2013)

This edition of Trendspotting focuses on recent developments in the distribution sector with a specific focus on alternative distribution models in Europe and beyond.


>>> Voddler (Sweden)

Having streamed movies to a reported 1.2 million users in Scandinavia and Spain over the past few years, Sweden's Voddler recently unveiled what it calls the "first legal film-sharing service." Named LiveShelf, the service allows Voddler users to invite friends to view films that the users have purchased online through a feature called ViewShare. Users pay a monthly fee that is shared with content owners such as Disney, Dreamworks, NBC Universal, Paramount, Warner Bros, Touchstone Pictures, MGM, New Line, Miramax and BBC Worldwide, all of whom Voddler has already brokered partnerships with.


>>> COIN (International)

RelativityREAL, the television arm of independent film financier and producer Relativity Media, has launched a branded YouTube channel entitled COIN. The channel broadcasts web-series centered around the businesses and lives of entrepreneurs with 25 original and interactive shows to-date including Career Day, $wag, and HR.


>>> High Top Releasing (United States)

A subsidiary of U.S.-based theatrical distributor FilmDistrict, the newly-launched High Top Releasing will provide service distribution to independent producers seeking theatrical releases for their films in the United States. Services include film rental negotiation and collection of box office revenues from theaters, in-theater marketing and print marketing advisory and management, and additional sales activities. Producers will be responsible for providing the P&A funding to release the film.


>>> Hooked Digital Media (International)

Neal Edelstein, producer of David Lynch's Mulholland Drive and the U.S. remake of The Ring, has launched Hooked Digital Media, a company focused on delivering content on tablet and mobile devices. On the company's board of advisors is MySpace co-founder Aber Whitcomb, who has extensive experience in cross-platform technology design. Edelstein stated that Hooked Digital Media intends to create new stories expressly for, and to be distributed on, tablet and mobile devices with the user habits of those devices being a key factor in what type of content Hooked will produce and release.


>>> Mr. Wolf (United Kingdom/United States)

Focused on alternative content distribution, specifically the distribution of live and recorded feature-length music content, Mr. Wolf recently launched with offices in London and Los Angeles. The company will co-produce and manage the distribution of single events and as well as series, distributing through theatrical partners such as Arts Alliance Media and also managing home entertainment (VOD, DVD, TV, digital) releases.


>>> peacefulfish senior partner Juliane Schulze and Media Deals project manager Perrine Hamon participated in the DigiBIC Awards during the EBN Annual Congress in Derry-LondonDerry, Northern Ireland on 29, 30, and 31 May. DigiBIC is focused on the deployment of technologies and tools from applied research projects in cultural heritage, digital libraries, and preservation to the wider Digital and Creative Industry (CI) sector and in particular to small and medium-sized enterprises (SMEs). For more information about the project and the awards, see:

>>> On 17 May, during the Cannes Film Festival, peacefulfish CEO Thierry Baujard participated in a panel led by the BFI (British Film Institute) focused on sustainability and finance in the UK Pavilion. Additionally, Thierry held a closed session about this same topic with key regional and European institutions on 20 May 2013. For more details, contact Thierry directly:


>>> Also during the Cannes Film Festival, Juliane Schulze took part in a panel focused on producing between Europe and India, which took place on 18 May at 15:00 in the Film France Pavilion. The panel explored how best to combine European financing opportunities with Indian production, financing, and distribution power. A keynote speech was given by Mr. Uday Kumar Varma, Secretary, Indian Ministry of Information and Broadcasting. Other members of the panel included: Deborah Benattar (French Audiovisual Attache, French Embassy in Mumbai); Johannes Rexin (producer, Heimatfilm, Germany); a representative from the EUFCN (European Film Commission Network); Franck Priot (COO, Film France) with moderation by Mohinder Walia (Managing Director, Golden Bird Entertainment Pvt. Ltd. and former Managing Director of Twentieth Century Fox Studios India). For additional information, contact:


>>> After a successful Financing & Transmedia Strategies workshop in Bari, Italy, the new edition of the Closing The Gap training course has started its online session. peacefulfish consultant Sebastien Aubert and Closing the Gap course director Marc Robert are working with the 20 selected international producers to assist them in preparing a detailed equity investor pitch for their projects. The online session runs until mid-June, after which the producers will pitch to a panel of investors including business angels and representatives from business angel networks, venture capital funds, family office funds, public/private funds, and mediatech financiers. For more about Closing The Gap, go to:


>>> On 4 and 5 April, Juliane Schulze took part in the steering group meeting for Euroscreen, which is an Interreg IVC project focused on film and tourism. peacefulfish is one of Euroscreen's strategic advisors and the streering group meeting took place in Bucharest, Romania. For more about Euroscreen, see:


>>> From 12 to 14 March, Juliane Schulze attended eurindiamedia's European Film Co-Production Lounge at the FICCI Frames Market in Mumbai, India. The Lounge cultivates working relationships between European and Indian producers while the FICCI Frames Market is a 3-day media and entertainment convention bringing together a range of players from the global audiovisual industry. For more, go to:


>>> On 7 March peacefulfish CEO Thierry Baujard took part in the advisory board meeting held in Brussels, Belgium for the new EU pilot project entitled "@diversity - Innovative Ideas for Cultural and Creative Sectors in Europe." The project will select and promote 15 ideas that make innovative use of ICT-based technologies to create, make accessible, spread, and/or finance cultural products. The 15 ideas will be selected as part of a competition that launched on 20 May. @diversity is a Pilot Project of the Directorate General Education and Culture in line with the new Creative Europe Programme and the Digital Agenda for Europe. The project is managed by a consortium including Kennisland (The Netherlands) and MFG (Germany) and headed by peacefulfish (Berlin/London/Brussels/Cannes). For more information, contact Alexander Berlin:


>>> peacefulfish consultant Marika Kozlovska attended the co-production forum When East Meets West from 21 to 23 January in Trieste, Italy. At the forum she represented peacefulfish sister company Just Temptation, which provides independent European producers and directors with original music funding, comprehensive support, and a full range of film music services. For more about Just Temptation, go to:


Event Analysis

>>> peacefulfish consultants attended the Creative Clash Conference on 19 March, which presented the challenges and benefits of artistic interventions in organizations. The project partners introduced several research papers including a mapping of Support Schemes for Artistic Interventions in Europe. The policy and advocacy initiative "Creative Clash - European Network for Artistic Interventions" was also launched. For more information, go to:


>>> The CULTure Committee of the European Parliament held an exchange of views on "Promoting the European Cultural and Creative Sectors as Sources of Economic Growth and Jobs" on 22 April. Speakers included representatives from the Parliament (Doris Pack, Helga Truepel), the Commission (Xavier Troussard), and Cultural and Creative organisations (EMO, ECCE, Vivendi, European Design Center, Comite Colbert). The official trialogues on Creative Europe have now begun (23 April), including discussions on "YES Europe." Proposed measures for access to finance for the creative sector include: more use of crowd-funding, better (pan-European) interconnectedness of investors, the introduction of traditional financiers to platform systems, and the use of guarantees. All presentations and information can be found here:


>>> The Future Media Lab 2013 took place on 23 April and discussed the future of European media entrepreneurs in the framework of the Digital Agenda. Advice for entrepreneurs in the digital sector included: embracing disruptive innovation and creating an innovation ecosystem; making ideas mobile, simple and imminent; and offering a variety of choices to users or consumers. The event was attended by Commissioners Neelie Kroes (Digital Agenda) and Viviane Reding (Justice, Rights, Citizenship). More information can be found here:

European Regulation & Decision-Making

>>> On 21 March the European Commission, under the sponsorship of EU Commissioner Neelie Kroes (Digital Agenda), launched the "StartUp Europe" campaign to encourage creative entrepreneurship. The initiative is part of a 6-step plan to foster web-entrepreneurship in Europe and to encourage following the examples of Spotify or Skype. Find out more about the initiative here:


>>> In order to establish new film support rules, the European Commission has launched a Final Public Consultation to assess Member States' support schemes for films and other audiovisual works. The consultation is open to the public until 28 May. Participate here:


>>> UK think tank NESTA published a "Manifesto for the Creative Economy" (April 2013) analysing the future of the creative industries in the United Kingdom. You can access the document here:


>>> A handbook on the Training of Artists for Innovation, Competencies for New Contexts was published on 9 April in the framework of the TAFI Final Conference (Training Artists for Innovation). This handbook was presented by the project partners to representatives from the European Commission (Ann Branch) and ELIA. For additional information as well as a downloadable copy of the handbook, go to:

European Support & Programmes

>>> The call for proposals on "Media and Culture for Development in the Southern Mediterranean" focuses on, amongst other topics, the evolution of a more independent media sector in the Mediterranean.

Deadline: 10 June 2013 (new deadline) - Proposal documents available here.


>>> Call for Ideas: The European Commission - DG Education and Culture is looking for ideas for its next European Culture Forum, which will be held in October 2013.

Deadline: 20 June 2013 - More information can be found here.


>>> A Call for Tenders for A Study on Showing Films in Schools has been launched under the MEDIA Programme of the European Commission.

Deadline: 30 June 2013 - Information and documents are available here.

>>> Upcoming Deadlines for MEDIA funding:

Promotion/Access to Markets - Deadline: 3 June 2013 (for activities taking place in 2014)

Support for TV Broadcasting - Deadline: 3 June 2013

Independent Producers i2i Audiovisual - Deadline: 7 June 2013

Various deadlines for distribution support - Autumn 2013

More information concerning individual calls can be found on the MEDIA website


General comments on, and feedback about, this newsletter should be sent directly to Marc Robert ( Please DO NOT automatically reply to the newsletter itself as the recipient-list inbox is not monitored.

We look forward to hearing from you.

newsletter - january 2013

Dear peacefulfish members,

Below please find the January 2013 edition of our financing newsletter, bringing you a round-up of thelatest film and TV funding news including information about international tax incentives and public subsidies as well as news about recent peacefulfish activities.

Furthermore, this edition continues with our Trendspotting section, which is devoted to emerging equity sources for film and TV projects. We also offer coverage of recent European Union conferences, studies, and programs relevant to the creative industries, provided by our Brussels office.

As the Berlin Film Festival is just around the corner peacefulfish, Just Temptation, TWIST, and Audiovisual SGR invite you to our 2013 Berlinale Information Sessions on:


MEDIA-Programme-supported fund for producers seeking production loans for film & TV projects
Monica Carretero, fund manager (Audiovisual SGR)      


Pan-European film music company providing independent European producers and directors with original music funding, comprehensive support, and a full range of film music services
Vincent Favrat, director (Just Temptation)


Training course on equity investment for film, TV, transmedia, and games producers
Marc Robert, course director (peacefulfish)  


Co-production market for stereoscopic 3D content (4-5 December 2013)
Marika Kozlovska, market coordinator (peacefulfish)

Learn how these initiatives can help you access financing for your projects as well as meet members of each initiative\'s selection committee and get information on application deadlines and tips on applying.

WHEN:     9 February and 13 February 2013  at 10:00am until 12:30pm

WHERE:  Tagesspiegel Office; Raum E (Room E); Askanischer Platz 3; 10963 Berlin
(10 minute walk from Martin-Gropius-Bau EFM Venue)

RSVP: by 7 February 2013

As always, the aim of these newsletters is to further inform our community about new opportunities and trends that could help shape their company strategies. For more specific company investment news, check out our Media Deals newsletter, which focuses on European mediatech investment within the creative industries.Go to to register for this newsletter.

All the best,

Thierry Baujard

The European Co-Production Lounge at FICCI Frames 2013 is currently accepting applications from European producers seeking Indian co-production partners. Asia’s largest convention on the business of entertainment, FICCI Frames will be held on 12 to 14 March 2013 at the Renaissance Hotel in Mumbai, India. Hosted by eurindiamedia (the official representative of the European Film Commission Network in India), the European Co-Production Lounge assist producers in:

> identifying the best suitable Indian partners and locations

> understanding how to structure their project with Indian funds

> exploring distribution in the Asian market for their film or media project

> expanding their professional network with top Indian producers & investors

Furthermore, the Co-Production Lounge organizes pre-scheduled, 45-minute one-to-one meetings on behalf of European producers with interested Indian producers, distributors, and financiers.

The application deadline is 8 February 2013. For more information, and to download the eligibility criteria and application form, go to:  

The call for applications has launched for peacefulfish’s new MEDIA-supported training program entitled ENTER: training financiers for the content industry. The training is for financiers (bankers, business angels, venture capital fund managers, regional fund managers, etc.) to gain a better understanding of the value chain of the European audiovisual industry with a focus on emerging business-, investment-, and lending-models. For more information, go to: 


>>> Within the past month, French politicians have approved significant changes to France’s 20% tax rebate for film and TV production, raising the maximum amount that producers can receive back through the incentive from 4m euro per project to 10m euro per project for international film productions while also making hotel costs an eligible expense. The maximum reimbursement has also been raised for local producers, from 1m euro per project to 4m euro per project. For TV producers, non-French-language series produced by French companies have also been deemed eligible for the rebate. The overall aim is to attract more bigger budget international projects to shoot in France as well as to lure back bigger budget French productions that have been shooting elsewhere in Europe in recent years. These changes are set to go into effect in 2013, pending EU approval. 

>>> Brazil’s main public subsidy, the Audiovisual Sector Fund, which is administered by the Brazilian government’s cinema agency Ancine is set to rise in 2013. The fund had a budget of approximately 73m euro in 2012, which will increase to approximately 144m euro for 2013.

>>> Eurimages has announced that, as of 2013, it will reduce the amount of money that it will invest on a per project basis from 700,000 euro to 500,000 euro. Furthermore, Eurimages re-confirms that its investments are capped at 17% of a project’s budget up to the new maximum limit of 500,000 euro. The impetus behind this reduction is to allow Eurimages to back more productions per year.

>>> Pending approval by its parliament, the Icelandic Film Centre will see an increase in its subsidy budget from approximately 1.2m euro to approximately to 4.1m euro, taking the country’s main government fund back to its pre-financial-crash level from 2008.    

>>> As of 1 January 2013, Germany’s DFFF incentive has been approved for 3 additional years with a budget of 70m euro per year, which marks an increase of 10m euro per year for the fund. Key changes to the criteria that must be met in order to access the production funding include: fiction films must receive a theatrical release consisting of at least 45 prints in Germany and documentaries must receive a theatrical release consisting of at least 8 prints in Germany, up from 30 prints and 4 prints respectively. Furthermore, films that receive over 4m euro in funding from the DFFF must achieve a minimum 200-print release in Germany and films that receive less than 320,000 euro from the fund only need to achieve a 20-print release. Applications for funding must be submitted a minimum of 6 weeks before principal photography begins.       

>>> From 2013, the Austrian Film Institute will have an annual budget of 20m euro, marking a 3.43m euro increase over the Institute’s previous budget. This increase is the result of hard lobbying from country’s producers and, while it does not include the extra 5m euro for young talents mentioned in the last edition of our newsletter, it is widely acknowledged as an industry victory in the era of widespread budget cuts and austerity measures.

>>> The British Film Institute (BFI) recently revealed its 5-year plan, which laid out the Institute’s focus on three key areas: filmmaking, film heritage, audiences and education. Furthermore, by 2017, it is expected that the BFI’s Film Fund will have approximately 25.9m euro annually to spend on its initiatives. Also, in the near-term, it was noted that approximately 1.2m euro in funding would be devoted to co-productions. Finally, a new Distribution Fund with an annual budget of approximately 4.9m euro per year would focus on providing “big audience” awards, “breakout film” awards, awards for innovative distribution strategies, and awards for “sleeper films” that build-up unexpectedly large audiences in relatively short periods of time.   


New Sources of Film & TV Financing (Fall 2012 – Winter 2013)

This edition of Trendspotting focuses on emerging sources of film & TV financing, including several new equity funding sources.  


>>> Gloucester Place Films / Matador Pictures (United Kingdom)

The UK’s Matador Pictures recently announced that it will split the company’s activities between development funding and project financing with the launch of subsidiary Gloucester Place Films. Gloucester Place will administer the project financing side of the business, with the ability to make advances to producers against pre-sales and tax credits ranging between approximately 613,000 euro and 4.9m euro. Matador will continue to focus on creative producing and is ramping up its development activities, stating that it now also has access to “significant development funding” that it will use to option scripts and books.   

>>> Corsan’s 3rd-Party Fund (Belgium)

Belgian-based production and finance company Corsan has announced a new fund for 3rd-party projects. Valued at approximately 77m euro, the fund will invest in up to 5 new films per year with budgets between approximately 11.5m euro and 23m euro. The aim is to access English-language projects with strong international theatrical potential; cast-driven projects with name directors.     

>>> Filmscape / LipSync (United Kingdom) 

A supplier of digital production equipment for film & TV producers, Filmscape has announced a new financing initiative set up in partnership with post-house LipSync. Together, Filmscape and LipSync will invest their products and services as equity into independent feature films. Filmscape managing director Kevin Harvey cited independent film productions as a “real growth opportunity” for the company and the impetus for developing their financing offer with LipSync.  

>>> Torino FilmLab (Italy)

Though not a film fund per se, the Torino FilmLab is emerging as a relevant source of financing, especially for new talent. At its most recent session in November 2012, the Lab awarded approximately 430,000 euro in production grants to five projects. 

>>> Cascade Pictures (United Kingdom)

Launched in autumn 2012, Cascade Pictures aims to make equity investments into production budgets ranging from 30% to 35% of the overall budget. The company intends to invest in 4 to 6 films in its first year; projects with approximately 3.8m euro budgets or below. In its second year, it plans to invest in up 8 projects with budgets at approximately 11.5m euro plus.    

>>> Cascade Media Development (United Kingdom)

A complementary financing source launched in tandem with Cascade’s production fund mentioned above is the company’s Media Development fund, which invests in project development at the idea or script stage. The fund will invest in both TV and film projects and kicks off with a first-round of financing raised through the new Seed EIS scheme in the UK. This first round is valued at approximately 185,000 euro. 


>>> Backup Films / Groupe 1 (France)

Film financing company Backup Films launched a joint financing partnership with Groupe 1 in September 2012. The fund aims to finance 10 to 15 film or TV projects per year with budgets ranging between 1m euro and 30m euro. Both Backup and Groupe 1 bring over 100m euro worth of film investment experience to the table and they are seeking projects that combine both artistic ambition and international commercial potential.

>>> Merced (United States)

A joint venture between PalmStar Media (based in Los Angeles) and the private investment firm EBF & Associates (based in Minneapolis), Merced is a new fund seeking to invest in film projects with global potential. Investments have already been made in a first-round of productions including Careful What You Wish For, Chained, Every Secret Thing, and Rush. The company can provide preferred equity, senior and mezzanine loans, and full financing for projects.  

>>> DAR MentorCap Film Fund (India)

After gaining approval from India’s SEBI, which is the equivalent of the Securities and Exchange Commission, Mumbai-based DAR Media has gone forward with raising an approximately 14.2m euro fund. The DAR Capital Group, of which DAR Media is a subsidiary, also has production and distribution arm -- DAR Motion Pictures -- through which the investments will be made.   


European Regulation & Decision-Making


>>> The Directorate General INFSO changed its name to “DG Connect,” which stands for the key areas that they cover (Communication Networks, Content, and Technology). The objective is to adapt and face the challenges of the next ten years. In addition to changing its name, the DG also has changed its structure, culture, and mission becoming more flexible and better able to focus on the links between policy and research areas. The new structure aligns the work of the DG with key EU policies for the coming decade, ensuring that digital technologies can help deliver the growth which the EU needs.  The announcement can be found at:


>>> A “Study on new business models in the audiovisual sector” ordered by the European Commission, The MEDIA Programme, and media literacy was published. The independent study on business models in the audiovisual sector shortlists a range of new business models from the digital economy with the goal of promoting and distributing audiovisual works. The study tries to examine how these new business models could reinforce the circulation of European works. Based on this, a prospective and qualitative analysis of the most relevant and promising business models are presented. The summary and final version of the report can be found under:


>>> Areport on more efficient distribution of films and other audiovisual materials was adopted at the European Parliament this past September. According to the report of French Christian-Democrat Jean-Marie Cavada: films can play a crucial role in forging a European identity by showing different cultures and ways of life. The report concerns European cinema and the potential of European cinema to reach a wider public via more efficient distribution of films and other audiovisual materials online. An interview with Jean-Marie Cavada regarding the report can be found under:


Event Analysis

>>> The 2nd Digital Agenda Assembly took place in the European Parliament in Brussels this past summer. More than 1,120 participants took part and UK participants were the third largest group after EU institutions and Belgian participants. The main objectives of the Assembly were to assess the progress towards the Digital Agenda’s goals seeking ways to improve delivery and to identify challenges ahead for further implementation of the Digital Agenda and for the information society in general. It aimed at mobilizing stakeholders’ actions and consisted of an online engagement space launched ahead of the event, 8 workshops on key Digital Agenda topics and a plenary session to report feedback on previous discussions. Slides, video material, and a final report with the results of each session can be accessed at:


>>> The 2012 edition of the Closing The Gap: Equity Investment for 360° Content training course culminated in a 3-day pitch workshop with equity investors during the Mallorca Film Week in Palma de Mallorca, Spain. Nine of the selected Closing The Gap producers pitched their film and television projects to a panel of European equity investors including venture capital fund managers, business angels, and representatives from business angel networks. The investors gave each of the producers detailed feedback about their project pitches and investment offers both during the pitching session itself and through 1-to-1 meetings before voting to award the Closing The Gap Equity Pitch Prize. The 4,000 euro prize was split between two projects: Code Of Silence, a feature-length thriller from Norwegian production company Sweet Films, won Best Project Pitch while Crocodox, a transmedia documentary project made for children by children that integrates television episodes with a web portal and mobile apps, won Best Investment Offer for Spanish production company Unaymedia. For more information about Closing The Gap, go to:

>>> peacefulfish Senior Partner Juliane Schulze held a two-day seminar on the \"Financial Aspects of Producing\" at the Producers\' Workshop as part of the Directors Across Borders (DAB) Eastern Partnership Programme, which took place in Tbilisi, Georgia from 4 to 8 December 2012. The Programme provides training and networking opportunities for film industry professionals from the EU Eastern European partnership region and beyond. For more information, see:

>>> peacefulfish consultant Marika Kozlovska attended the 2nd edition of the 3D Film Mart (3DFM) on 4 and 5 December in Liege, Belgium. The S-3D co-production market is organized by the Belgian cluster TWIST in association with peacefulfish and with the support of the MEDIA Programme. Twenty producers pitched their 3D projects to a panel of international co-producers including financiers, distributors, and broadcasters. For more, see:

>>> On 6 November during the DIY Days in Ghent, Belgium, peacefulfish Senior Partner Juliane Schulze participated in a panel discussion on financing. DIY Days is an event focused on how creative people can develop, finance, distribute, and sustain themselves as collaborative entrepreneurs. For more, see:

>>> peacefulfish CEO Thierry Baujard and consultant Marika Kozlovska attended the co-production market Connecting Cottbus on 8 and 9 November to moderate a closed workshop discussing the results of the recent study on the prospective Eurimages distribution support programme. The workshop brought together participants from Connecting Cottbus and guests from the focus countries of the study that are Eurimages countries but not MEDIA members (Turkey, Russia, Albania, Macedonia, Georgia, and Serbia). The aim of the workshop was to understand the perspectives and potential implementation of the Eurimages distribution support programme in countries with different backgrounds. For more information, contact:

>>> From 14 to 16 November Juliane Schulze, who is the project manager for EuroScreen, attended the initiative\'s 2nd Steering Group meeting, which takes place in Bari, Italy. Funded by the INTERREG IVC Programme, EuroScreen is a cross-European film tourism initiative aiming to improve policies between the screen sector and the tourism industry working across eight different countries in Europe: Italy, Malta, Poland, Romania, Slovenia, Spain, Sweden, and the UK. For more information, see:



General comments on, and feedback about, this newsletter should be sent directly to Marc Robert ( Please DO NOT automatically reply to the newsletter itself as the recipient-list inbox is not monitored.

We look forward to hearing from you.



newsletter - may/june 2012

Dear peacefulfish members,

In this edition of our newsletter we bring you a round-up of news from the past few months on film and TV financing, tax incentives, and subsidies as well as related peacefulfish activities. Furthermore, this edition offers a Trendspotting section devoted to newly-launched film and TV funds. And we also have coverage of recent European Union conferences, studies, programs, and funding calls relevant to the audiovisual industry, provided by our Brussels office.

We are also very pleased to announce that peacefulfish’s sister company, Just Temptation, has evolved over the past months to offer a range of new services to film and TV producers including:

  • funding for original soundtracks for projects with high potential
  • music supervision to optimize the quality of the film through its music
  • search for film music composers and in-house representation of 10 European indie music stars
  • synchronization services with direct access to 2 millions tracks
  • soundtrack release with digital distribution in 300 shops and physical distribution in the main territories prior to the theatrical release
  • soundtrack-based digital marketing with exclusive transmedia material
  • soundtrack press campaigns to a network of 4000 specialized press contacts
  • organizing special music events in conjunction with film premieres that are broadcast live on digital tv

See the Company News section below for more information about Just Temptation’s film fund, or contact them directly at:

Furthermore, we are happy to report that 12 producers/project teams have been selected to take part in the second edition of peacefulfish’s Closing The Gap: Equity Investment For 360° Content training program, which is supported by The MEDIA Programme, The Apulia Film Commission, and The Mallorca Film Commission. For more information about the program and the selected producers, see:

As always, the aim of these newsletters is to further inform our community about new opportunities and trends that could help shape their company strategies. For more specific company investment news, check out our Media Deals newsletter, which focuses on European mediatech investment within the creative industries. Go to to register for free!

All the best,

Thierry Baujard


>>> The new World Cinema Aid Fund, a joint initiative between the National Cinema Centre (CNC) in France, the Ministry of Foreign and European Affairs, the Ministry of Culture, and the Institute Francais, offers subsidy funding for non-French filmmakers and has begun accepting applications. The fund has a 6m euro budget for 2012 and replaces France’s Funds Sud as well the Aid To Foreign Language Films fund. Projects can receive up to 250,000 euro prior to production or up to 50,000 euro if they are already in the post-production phase. 

>>> The ICAA subsidy fund in Spain has had its budget cut by approximately 40% in the last months, resulting in its cancellation of support for short films, script development, and animated films. Types of support that remain available include funding for production, distribution, film preservation, and film festivals; however, the amounts are limited as ICAA’s new budget is estimated to be 48.5m euro with approximately 34.5m euro of that already earmarked to repay subsidy commitments on films that have been released. 


>>> In the wake of the huge budget cut for the public subsidy mentioned above, Spain’s ICAA has introduced the possibility for producers to receive lines of credit for their productions through ICAA in conjunction with Audiovisual SGR and EGEDA in the hopes of buoying a Spanish production sector pummeled by the effects of widespread budget-tightening in the country. Producers can apply for loans of up to 1.3m euro per film with a repayment period of up to 15 years with the possibility of further extensions under certain conditions. 


>>> The South African government is preparing to announce the availability of a 20% tax rebate on TV productions that do not qualify for the 25% rebate already offered to projects that qualify as “official co-productions.” The rebate will be for productions, both documentary and fiction, that cost approximately more than 985,000 euro per hour to make. Furthermore, if the project also does its post-production in South Africa, the rebate can be raised to 22.5% of the budget spent in the country.


>>> In a bid to help strengthen the country’s production sector, the Malaysian government has introduced a 30% tax rebate on foreign projects that spend more than approximately 1.3m euro in the country and local projects that spend more than approximately 609,000 euro. Such a move is expected to enhance tourism, create jobs, and stimulate production know-how at a local and national level within the country.


>>> The Lithuanian government is set to vote on the approval of a 20% tax incentive for projects, both local and foreign, that spend a minimum of 43,450 euro in the country. Both feature films and television productions would qualify under the proposed scheme and the projects would need to have either a Lithuanian producer, co-producer, or service producer in order to apply for the tax relief. 


>>> The UK’s Enterprise Investment Scheme (EIS), which is frequently used to attract private equity into the film industry through tax relief, is awaiting final EU approval on its proposed 2012 parameters. These new parameters include raising any EIS investment funds’ cap from approximately 2.5m euro to 6.2m euro in any 12-month period, increasing the limit on the level of investment from individual investors from approximately 616,000 euro to approximately 1.2m euro per investor, and allowing companies with up to 250 employees to qualify to set up an EIS fund as long as their pre-fund assets are below 18.5m euro.


New Sources of Film & TV Financing (Spring 2012)

This edition of Trendspotting focuses on new sources of film & TV financing that have recently become available, including several new international film funds. 


>>> Media Opportunities Fund (United Kingdom)

Ingenious Ventures, based in the UK, has created an Enterprise Investment Scheme (EIS) fund dubbed the Media Opportunities Fund which aims to invest approximately 15.2m euro in growing companies operating within the media sector. Companies could come from the film and TV industries as well as from the digital industry, live events, and other creative industries such as fashion and design.


>>> Demarest Films (United States)

Established within the last six months, this company provides three types of funding: senior debt facilities to cashflow productions, gap financing, and direct equity investments. Having taken equity stakes in such entertainment and technology companies as Moviepass and Cinedigm, Demarest has now moved into production funding through initial investments in such independent projects as Penthouse North from The Weinstein Company and the new Neil Jordan feature Byzantium.


>>> Harvest Seven Stars Media Fund (China)

Aimed at investing in international, English-language films as well as investing in mergers & acquisitions and cross-platform distribution in Asia and beyond, the Harvest Seven Stars Media Fund is in the process of raising approximately 607m euro. Established by the Harvest Alternative Investment Group and the Sun Redrock Investment Group, the fund will be evaluating both studio and independent projects and could also come on-board as a Chinese co-producer in order for the film to be “from China” and avoid the quota system that prevents many “foreign” productions from being released in Chinese cinemas.  


>>> Angel World (United States/United Kingdom/Malta)

Together with merchant bank First Wall Street, Angel World Entertainment (AWE) has launched an approximately 120m euro fund to finance independent film projects. Because of the CEO of AWE’s background in the IT sector, the fund is designed to allow a more transparent investment into the film industry on the part of the equity investors, who will recoup their money in first position as well as receive a more detailed accounting of their revenue share on a project-by-project basis.


>>> Mediabiz Capital Fund (Canada)

The Mediabiz Capital Fund, recently created by Mediabiz International which is based out of Montreal, is an approximately 76m euro fund that can provide a range of financing solutions including gap financing, guaranteed-revenues financing, and bridge loans. The money that comprises the fund is sourced from a mix of private investors, debt financing, and a pension fund and complements Mediabiz’s other financing and production activities.     


>>> Britdoc / Bertha Foundations Funds (United Kingdom)

Within the last months, UK organization Britdoc has joined with the Bertha Foundation to create two new funds for documentary projects with a combined value of 1.8m euro. To be invested over the next three years, this sum is spread across The Bertha Britdoc Documentary Journalism Fund and the Bertha Britdoc Connect Fund. The former is meant for filmmakers working at the intersection between film and investigative journalism and can provide up to 307,000 euro per project. The latter fund can also provide up to 307,000 euro per project with the funding be meant to help stimulate “outreach and engagement” for filmmakers working in Europe who are trying to facilitate real social change at a local, regional, or national level. 


>>> Doc Ignite (Canada)

Not so much a fund proper as an integrated crowd-funding service, Doc Ignite was recently launched by the Hot Docs festival as a means for documentary filmmakers to build audiences and raise money for their projects directly from those audiences. The aim is to raise around 18,000 to 20,000 euro per project using this online platform, to kickstart these projects and prove that there is indeed an audience for them who will not only help fund the productions themselves but who will convince traditional funders and distributors and other investors to take part in the projects.


>>> 120dB Films (United States)

Launched in 2004, 120dB Films is a financier that can provide P&A funding, gap financing, bridge loans, finishing funds as well as cashflow for pre-sales contracts and tax incentives. Recently the company launched a new fund valued at 81.2m euro, which will enable greater flexibility in offering these same financing services to a larger range of international productions. 120dB has closed financing on over 60 productions in the last 8 years and, through this new fund, is seeking to become more dominant within the market.  



European Regulation & Decision-Making


>>> The European Commission consults on future film support rules. The Commission has launched a public consultation on the state aid criteria it proposes to use to assess Member States’ film support schemes in the future. The criteria are set out in a draft Communication, on which the Commission invites comments by 14 June 2012. The final Communication is due to be adopted by the Commission in the second half of 2012. More information can be found under:


>>> The Commission has published a Staff Working Document as a part of Digital Agenda governance. The Staff Working Document is on the implementation of broadband plans, as the access to fast and reliable broadband connections has become crucial for both consumers and businesses. The Digital Agenda for Europe sets ambitious broadband targets and requires EU Member States to implement equally ambitious national broadband plans. The document summarizes the current state of play in national broadband plans and fosters a mutually beneficial exchange of knowledge on good practices between countries. The full text of The Staff Working Document can be found under:


>>> The European Audiovisual Observatory has published a new Iris plus report on the lifespan for copyright of audiovisual works. The publication offers a concise overview of elements to be taken into account when determining terms of protection of audiovisual works in Europe and the US. In the report, the lead article by Christina Angelopoulos of the Amsterdam-based Institute for Information Law (IViR) is concentrated on European legislation which dictates the length or term of protection of cinematographic and audiovisual works. The report includes also discussion on the film-relevant related rights and an analysis of how the UK’s approach to producers’ rights departs from “the concept of related rights.” More about the report can be read under:


>>> On Sunday, 20 May 2012, The Commissioner for Education, Culture, Multilingualism and Youth, Ms Androulla Vassiliou, awarded the first EU MEDIA prize to the Iranian director Asghar Farhadi at the Cannes Film Festival. Asghar Farhadi, known in Europe and throughout the world for his film “A Separation” (which won a Golden Bear at the Berlin Film Festival in 2011 and the Oscar for Best Foreign Language Film in 2012), and the producer Alexandre Mallet-Guy (Memento Films Production) were awarded the EU MEDIA prize for their new project which will be filmed in France in French next autumn. More information about the MEDIA prize can be found under:



Event Analysis


>>> China-EU High-Level People-To-People Dialogue Forum was held on 18 April 2012 in Brussels. During the Forum a “People-To-People Dialogue” covering education, culture, youth, research and multilingualism was launched - a new level of co-operation between the EU and China. The new EU-China High-Level People-to-People Dialogue represents a \\\\\\\'third pillar\\\\\\\' in relations between the two partners. A joint declaration for commitment was signed by Androulla Vassiliou, European Commissioner for Education and Culture, and Liu Yandong, Chinese State Councillor. Among the topics discussed on the Forum were Culture, Perceptions and Media in EU-China Relations. More info at:


>>> On 26 April 2012 a public hearing took place in the European Parliament on the topic of “Defining the future EU culture and media programmes.” Organized by the Culture and Education Committee, European experts from Cineuropa, German Cultural Council, LUX Prize Selection Panel 2012, as well as representatives from the EU Commission and Council commented on current perspectives of the MEDIA and Media Mundus programme, the dilemmas, contradictions and routes in the culture and cultural industries, and the future perspectives and challenges for the European film industry. More information about the hearing can be obtained under:



European Support & Programmes


>>> MEDIA 2007 – Support for the implementation of pilot projects.

The Call is based on the implementation of the programme of support for the European audiovisual sector, MEDIA 2007. The programme may support pilot projects to ensure that it adapts to market developments, with a particular emphasis on the introduction and utilization of information and communication technologies. More information can be found here:

Deadline: 18th June 2012


>>> DIGITAL FILMS – Circulation of films in the digital era

The purpose of this action is to investigate innovative strategies for the dissemination of European films (cinema screenings, DVDs, video on demand, festivals, television channels, etc.). The main aim is to establish conditions under which broadcasting media may more readily complement one another, so that European films can cross national borders more easily and reach a wider audience within the European Union. More information and guidelines can be found under:

Deadline: 6th September 2012


>>> On 19 May 2012 and 22 May 2012, during the Cannes Film Festival, peacefulfish CEO Thierry Baujard along with our colleagues from TWIST and Audiovisual SGR presented two Information Sessions on MEDIA-supported initiatives including:

3D Film Mart (3DFM), which is a co-production market for stereoscopic 3D content taking place in Liegé, Belgium on 4 and 5 December 2012. The application deadline for producers is 31 August 2012. For more information and applications, see:


MEDIA Production Guarantee Fund (MPGF), which is a fund for producers seeking production loans for film and TV projects. For more details, contact the fund’s manager Monica Carretero at Audiovisual SGR:


Closing The Gap (CTG) training program, which is an 8-month course for producers focused on how to identify, approach, and close deals with equity investors for film and TV projects. For more about the program, contact the course director:

>>> As detailed in the introduction to this newsletter, peacefulfish’s sister company Just Temptation has evolved over the past several months to offer a range of new services to film and TV producers, including a dedicated film fund that invests in original soundtracks as well as other, related activities. For an example of how the company operates, here is a breakdown of the work that they did on recent Swedish art-house hit “With Every Heartbeat (Kyss Mig)”:


• the original music was composed by Marc Collin, Nouvelle Vague’s producer

• the soundtrack album includes tracks by José Gonza%u0301lez, Melpo Mene, Kultiration, Liset Alea, Katrine Ottosen and Me%u0301lanie Pain, 2 exclusive tracks and 3 remixes

• a dedicated blog has been launched together with an extensive social-media campaign

• free tracks have been made available to the fans for download on different online channels and through mailing lists

• an extra music video by Nouvelle Vague with footage from the film will have been viewed over about half-a-million times online prior to the international release of the movie

• a press package has been sent to the European music press with the full-length album, pics, bios, as well as the soundtrack and the film’s press releases

• the Swedish film premiere in Stockholm hosted showcases of live music by both Marc Collin and José Gonza%u0301lez

• the DVD release includes the full soundtrack and exclusive transmedia material

Showreel of Marc Collin (Nouvelle Vague):

Dedicated Blog:

General Information:

For inquiries about Just Temptation’s services and fund:


>>> peacefulfish Senior Partner Juliane Schulze and Media Deals project manager Perrine Hamon conducted a Media Deals Investment Forum in Nantes, France on 4 April 2012.

This forum saw six mediatech companies receiving expert feedback and pitch training on their concepts and company business plans before pitching to a group of selected equity investors who traveled to Nantes for the forum.

For more about the Media Deals investor network and its Forums, contact Perrine directly:

>>> peacefulfish Senior Partner Juliane Schulze and her eurindiamedia co-director Kamal Musale initiated and organized the first European Co-Production Lounge at FICCI FRAMES in Mumbai on 16 March 2012.

A total of 10 production companies met and discussed their projects at the Lounge, bringing a total of 16 projects: five companies came from India and there was one company each from Germany, the UK, and Sweden.

eurindiamedia is a new professional network for European and Indian content producers interested in co-producing and closer collaboration. For more information please visit:



General comments on, and feedback about, this newsletter should be sent directly to Marc Robert ( Please DO NOT automatically reply to the newsletter itself as the recipient-list inbox is not monitored

Additionally, for specific inquiries regarding EU Services & Support, contact Rebekka Opfermann at our Brussels office:

We look forward to hearing from you.