by Abhi Parasher
“The differences are what make our stories interesting,” says Denitsa Yordanova who was appointed Head of the UK Global Screen Fund, a £7 million p.a. initiative of the UK government and the British Film Institute, in June 2021.
“It is those stories that we don’t see on screen too often that are exciting. There is an audience for those films and that audience may not just reside in the territory where the film is made. That is what is interesting to me, taking something that seems local and making it resonate internationally,” says Yordanova.
The benefits of international co-productions extend further than just the creative. For anyone with even the most basic understanding of the filmmaking process, it will be evident that the logistical weight of any production is hard to manage despite an unhealthy sleeping schedule.
“Taking the partnership between the UK and Australia for example, you can essentially have a 24-hour production cycle,” says Yordanova, who spoke at Screen Forever, Screen Producers Australia’s annual conference.
“While the team is working in Australia, their partners in the UK are asleep. That workload can be seamlessly shifted when the Australian team goes to sleep, and the UK team can take over. It can shorten your production window if you can find the right partner and the right level of trust.”
That trust was further established between the UK and Australian producers at Screen Forever’s inaugural UK Connect program, a competitive, curated co-production market initiative and joint Australian market-first between Screen Forever and the British Film Institute (BFI).
“I found it incredibly valuable and so did the UK producers. It allowed us to understand the local ecosystem and support mechanisms available, some of which are similar and some of which are different to ours,” remarks Yordanova.
“It’s good to collaborate, share experiences and be nimble to change. That’s why having a collaborative and connected screen ecosystem that speaks to each other across borders is so important and why events like this are so valuable.”
For many of the UK participants, this was their first trip to Australia, which opened the eyes of many to Australia’s rich indigenous history.
“There was half a day where we went to the indigenous cultural centre,” says Yordanova. “That was a completely different experience. It was more spiritual, full of exciting stories and a diversity of languages and approach to land that was inspirational to the UK producers.”
Despite her extensive experience with international co-productions, the importance of indigenous and local stories is not lost on Yordanova. “There will always be a place for productions that remain local and speak to the local audience. I think it is important that those stories are also told.”
Yordanova adds a comforting note on the future of storytelling that can emerge from the partnership between the UK and Australia.
“The goal is to create a particular type of atmosphere where interesting types of stories that resonate with audiences can originate; originate from bold places.”
