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Georgia: Government Offering Subsidies to Foreign Filmmakers | EurasiaNet.org
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Georgia: Government Offering Subsidies to
Foreign Filmmakers
June 9, 2017 - 1:14pm, by Inge Snip (/taxonomy/term/6596)
Officials in Georgia
hope to turn the
country into a
global hub for film
and television via
the creation of a
program that offers
subsidies to foreign
production
companies. The
initiative is
designed to boost
the local economy
and give a nudge to
the country’s own
http://www.eurasianet.org/node/83931
(http://www.eurasianet.org/sites/default/files/imagecache/galleria_fullscreen/060917_0.jpeg)
Gautamiputra Satakarni, an Indian historical action movie filmed in Georgia, was
one of several films subsidized by the Georgian government in a bid to boost the
economy and give a nudge to the country’s own moviemaking industry. (Photo:
Fragment of movie cover via National Georgian Film Center)
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Georgia: Government Offering Subsidies to Foreign Filmmakers | EurasiaNet.org
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Under the program, called Film in Georgia, the Georgian government will reimburse 20 percent
of a foreign company’s production costs in Georgia, and add an additional 5 percent, if the
finished film or program promotes Georgia.
“We all know the importance Georgian cinema had in forming the country’s image and culture,”
said (http://georgiatoday.ge/news/2808/Film-in-Georgia-Program-to-Entice-Filmmakers-to-Georgia) Prime Minister
Giorgi Kvirikashvili when he unveiled the program last year. “This new initiative will contribute to
the development of cinematography as an industry and as a business. And our country will
become Eastern Europe’s most attractive filming location.”
Thus far, six international feature films have qualified for the program, and it has paid out about
673,000 lari (about $280,000). Among the beneficiaries are The Clown
(http://deadline.com/2016/09/lily-collins-anthony-lucero-movie-the-clown-/) , produced by
controversial human rights activist Thor Halvorssen and Terence Malick. Another recipient is the
production company for an Indian historical action movie called Gautamiputra Satakarni.
Representatives of major American studios, including Warner Bros., Paramount, Universal, 20th
Century Fox and Disney, as well as several Bollywood studios, have visited
(http://www.filmneweurope.com/countries/georgia-profile) Georgia to check out the possibilities.
In addition to defraying production costs, Film in Georgia offers various services to foreign
production companies, including location scouting, scheduling, and help navigating the local
bureaucracy to obtain permits, said Lika Mezvrishvili, head of the program’s international
relations department.
The main benefit to Georgia is a boost in the local economy, especially in the hotel and
hospitality sector, program officials say. “The film industry is an engine that creates a ripple
effect on jobs, and innovation in other sectors of the economy,” Mezvrishvili told EurasiaNet.org.
It could also potentially attract film tourism, if a hit is made in the country and fans want to see
the site where it was filmed. And it can provide a boost to Georgia’s own film industry, as
Georgian filmmakers can learn from more experienced international counterparts.
“Besides the financial benefit, the most important benefit that Georgia will get is experience and
knowledge transfer from international productions. … That [can] lead to growth in the industry
and support Georgian filmmakers in developing their own projects,” Mezvrishvili told
EurasiaNet.org.
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Georgia already has a storied legacy of filmmaking: Tengiz
Abuladze’s
Cannes Grand Jury Prize in 1987, and the country has recently produced a number of arthouse critics’ favorites, including Giorgi Ovashvili’s Corn Island, Nana Ekvtimishvili’s In Bloom,
and Zaza Urushadze’s Tangerines, which was nominated for an Academy Award for best
foreign language film in 2013.
But bringing in bigger-budget foreign productions could help expand Georgia’s film industry
beyond the auteur model. “Film production requires creative collaboration, and one of the most
challenging parts of filmmaking as a career is learning how to work with others, so that the end
creative result is greater the sum of the parts,” said Thomas Burns, a director of photography
who has worked on films like Live Free or Die Hard and the CSI television franchise, and is now
based in Tbilisi. “This level of collaboration and planning is a big part of moving to an industry
model of production in Georgia,” Burns told EurasiaNet.org.
Georgia is not the only country offering a subsidy program. Officials say a combination of
unique architecture and natural features can help set Georgia apart as a production location. A
brochure promoting the program notes Georgia’s “Soviet flavor,” “futuristic buildings,” and
“Asian atmosphere” as potential draws for filmmakers. “It’s not difficult to see how the
Parliament building in Kutaisi could be an outpost of Starfleet command with only a little VFX
(visual effects) help,” Burns said.
Some film & television insiders in Georgia question whether the government should be
prioritizing giving money to foreigners when talented domestic filmmakers lack resources.
Georgian filmmaker and actor Giorgi Maskharashvili, known for films like Tbilisi-Tbilisi and The
Watchmaker, recently had to relocate to Los Angeles because too few opportunities and too
little funding were available in Georgia.
“There’s very little money and too many willing Georgian filmmakers trying to get grants,”
Maskharashvili told EurasiaNet.org.
The local industry, in spite of its critical international success, is not thriving financially. In 2015,
the Georgian National Film Center doubled its annual spending on local films, from just over $1
million to $2.2 million, but ticket sales for local productions remain a fraction of those for
international blockbusters.
Georgia could do more to support local popular films, not just festival fare, Maskharashvili said.
“To really develop Georgian filmmaking, it would have been better to add a couple more million
lari to the Film Center and support producing more popular films,” Maskharashvili said, “even if
those projects seem trashy, or cheesy, or ridiculous.”
http://www.eurasianet.org/node/83931
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Editor's note: Inge Snip writes about (social) innovation, startups, and grassroots movements.
peek
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She hails from the Netherlands, but has lived in Tbilisi onTake
andaoff
since
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