Marketa Santrochova, the head of the Czech Film Center, has been a pivotal figure in promoting Czech cinema internationally for over two decades. In this interview, she shares insights into her role, the challenges and opportunities faced by Czech cinema, and the evolving landscape of film production and promotion in the Czech Republic.
(UM): Could you introduce yourself and tell us about your role and your organization?
(MS): My name is Marketa Santrochova, and I work as the head of the Czech Film Center which I boearded20 years ago. The Czech Film Center was established in 2002 by the Producers Association of the Czech Republic because they missed an institution that would promote the films and the film industry internationally. Later in 2013, when the new fundwas established, we gradually became a division of the fund together with our colleagues from the Czech Film Commission. So now the Czech Film Center is one division of the Czech Film Fund, which is the main public institution and film fund in the Czech Republic.
(UM): So you mean that you are also a part of the organization that allocates funds?
(MS): Yes, and that is because the fund operates selective support for Czech films which is everything from script development, production, distribution, minority co-productions, technical development of cinemas, film festivals, education, training institutions, and other institutions. The fund also operates support for foreign productionsthat come to the Czech Republic to make films and series. So these are the two kinds of support that we provide. Next to it, there is a Czech Film Center, which takes care of the promotion of Czech films and talents internationally. That means that we talk to festivals. We give consultations to the producers, their festival strategy, and also the production strategy because they might need partners or co-producers. We advise them about which coproduction markets or forums they should attend with the project etcetera. Then, of course, we help them on the way to get to the premiere at a festival and in distribution. I mean, we follow everything that is going on in the Czech film scene. And we are like a bridge between the international and the Czech scene. Next to us, the film commission is promoting the Czech Republic as a good location and a skilled country for shooting.
(UM): What is the importance of local festivals, for example, Transylvania, in promoting Czech films?
(MS): Especially Transylvania Film Festival is important because there have been quite a few co-productions between the Czech Republic and Romania. So, I think the film cultures are closer to each other. I think it’s always a great experience when you as a filmmaker or as a producer, first, are selected, and you are in a dramaturgically driven selection. But also, you have a chance to present a film to festival audiences. And I think especially in festivals like Transylvania, it is nice because there are not only professional audiences. They are the public, the non-professionals. So, I think it’s very good because you can also somehow test how the film works. And I think if you do a Q and A, you can have different questions because people react to different things in your film compared to what you thought or how it has been presented in the Czech Republic. I think this is very important for a filmmaker to explain how and whyhe/she did this film. What was the topic and so on? And in Cluj, there is a very engaged audience. So, I think it’s very rewarding. And, on the other hand, of course, it also helps the visibility of the film locally or even internationally; because the film has somehow been selected and has been proven to be interesting. It can help the film with its later life. In distribution and also towards other festivals.
(UM): I realized that in most of East Europe, the festivals are private entities except in Karlovy Vary, which seems to be public. Are you also supervising or in collaboration with Karlovy Vary?
(MS): I have worked with the festival before joining the Czech Film Center, but in the Czech Republic, I would say that most companies are private entities with support from the state. So it’s either support from the Czech Film Fund or sometimes from the Ministry of Culture. So that’s also the case of Karlovy Vary. It’s not like the state owns the company.
(UM): But, the source of your funding is government, or is it private?
(MS): It’s the government. Well, we have some laws. For example, we get a part of the cinema tickets’ money for the fund. Then we have money from advertising on television and other different sources. And the government mirrors and contributes the same amount that we collect from these sources.
(UM): The Czech cinema was renowned for its cinema in the 60s and 70s, but it seems to be less prominent now. Similarly, the Czech film school isn’t as widely recognized today as the Romanian school or those of other European countries. How do you perceive this shift, and what are your thoughts on addressing the issue of global branding for Czech cinema?
(MS): I think, in general, it’s quite difficult to define one certain thing that unites the film, as you said, under a school of cinema. I would say that in recent years, it would maybe work better with animated films from Czech Republic, because there you can see a certain wave and also the films are quite successful. You can see a certain pattern, I would say, that Czech animated films have their identity that it’s easy to recognize. With fiction films, I would say it’s maybe just the time of the new generation that is coming. Maybe it’s forming somehow. But I don’t think I can say it’s this one thing, or the one theme, or, the one way of filmmaking as it was in the sixties because there you can clearly see the characteristics. But it’s not the case now, or I don’t have an answer to that now.
(UM): I see that in some countries, there was some kind of collaboration between embassies and the film organization. For example, the French embassy had a kind of French week of cinema. I’m curious if it’s the same in your case.
(MS): Well, we have done it through the years, several times, but it’s not so dense net of this kind of events. We do co-operate on them eventually, like a focus on a certain festival or on a certain theme. But the film weeks, I would say, are more in the hands of the Czech cultural centers that are all around the world. And I think it also depends on their dramaturgy because maybe some of them are more into literature or music, so they do more programs like that. Some of them are lucky enough to have a cinema in their building or nearby. So they have a good relationship and they do regular screenings and film weeks. But, it’s not something that is regular and happens every month in onecountry.
(UM): I had a conversation with people from industry who mentioned that, especially after the COVID or because of the rise of the streamers, they have had difficulty promoting their local cinema. So I want to know how is the situation in the case of Czech Republic with the rise of streamers and after the Covid.
(MS): It’s not that bad in the Czech Republic. It’s not on the level of pre-pandemic. But I would say it’s 80% of the averagebox office that was some years before. But there are questions here, regarding the younger audiences who are not that into cinema. And they are not present somehow. I think it should be addressed because this is the generation that will take over. And if they don’t have these habits, and maybe we cannot provide them with films that would attract them to cinemas, then it’s quite dangerous.
(UM): And how do you think this happened? Is it because there are more films being produced? Is it because of the rise of social networks that have changed the habits of people? What do you think? What’s the main reason behind this?
(MS): I would say that the social networks and also the creators and all the videos that you can consume in different forms and not necessarily in cinemas and, of course, also the content that is so easily accessible on the streaming platforms. And I think, that also the pandemic has to do with it because people just changed their habits a little bit. And maybe, I think in some regions, it can also be economical reasons. Because when you are struggling with your day-to-day budget, you will not cut the rent, because you have to pay the rent. But what can you cut? Not the food, not the heating, but maybe the culture. Or maybe people just cut this off because they can watch Netflix or Amazon in the evening.
(UM): It has come to my attention, that many of the films, especially art house films, are just circulating in the festivals. And the filmmakers are struggling financially. I’m just curious what is the situation in the Czech Republic with the movies that you are promoting?
(MS): I think it has become quite important. Maybe even more important than it was like 5, or 10 years ago. Of course, you need to have the premiere and that’s the event that somehow launches the film. But I think it’s more and more important to have a good festival premiere because the audiences trust the festivals. So they know what is interesting and what they should see is somehow at festivals. Then when later on, the film comes to cinemas, there’s not that much attention to it. And it’s sometimes quite difficult, especially for the producers. They have to balance these two. They have to make the film ready, then they have to plan the premiere and the other festivals very carefully. And I think it’s also a bit difficult or disappointing that you don’t always have the number of viewers that watch the film at festivals. You only have the solid numbers from the cinemas and that’s not in proportion, I would say. There could be several times more people watching a film if it travels through 20 festivals in one year, for example, and it’s already a big amount of people.
(UM): In some countries, there are regulations requiring streamers to promote local films or contribute to the local film industry. I’m curious, what is the situation in your country?
(MS): For the time being, the streamers or the VOD services, that don’t have their financial domicile in the Czech Republic don’t contribute to the film fund. But that should change because we are now in the process of approving the new audiovisual law. According to this change, streamers like Netflix, Disney, and Amazon would have to contribute to the budget of the film fund. Meaning financially, and by direct investment. They will be somehow motivated to produce Czech content, and the situation should change. Let’s see how it will work. But, it’s quite a big step.
(UM): I’m also involved in production and recently considered a co-production with the Czech Republic. However, I noticed some regulations seem to have changed last year, particularly regarding tax incentives. Can you provide more information about these changes? Were there significant shifts in the regulations?
(MS): I have to say it’s not my expertise because my colleagues from the film commission are the ones who take care of it, but it’s also a part of the new law. So there is also redefining a little bit of how the production incentives should work. I would say the big change is that there should be more money. That’s good news. But in the rules, if I’m correct, there are not that many changes. It doesn’t mean that now it will be a different percentage or a different type of incentive. That stays the same.
(UM): You mentioned that you also assist with co-productions involving Czech films. Could you elaborate on these aspects, such as finding partners or helping secure locations for shooting?
(MS): We do not help secure locations because if someone comes to the Czech Republic, then it’s, again, the Czech Film Commission the best to help with this –they are in touch with the regions and the location managers. But you always need to have a Czech co-producer. So that’s the first thing that you have to have. We can help with finding the right partner because, of course, we know our producers. We know what they have been doing. So let’s say if a Romanian producer approaches me and says, listen, I have this project and because of this and this, I would like to do it as a co-production with the Czech Republic, I can propose several producers and present what they have been doing and make the contact. Then it’s up to them if they really want to work together. And then it’s also that the fund has a special call for minority co-productionswitha budget of 1.6 million euros per year. The regulation is that you have to a Czech producer, and then there is a committee that decides on the submitted project, having in mind, how much it is a creative co-production, how much both sides are involved, how much there is a use of Czech services, locations, and talents, how much artistic or creative cooperation there is between the two of them, and also what the film is about, how much it relates also to European cultural values and this kind of things.
(UM): One of the big projects that I have seen recently is the Kafka project, Franz. So I’m wondering if you are involved in that project.
(MS): We have supported it in all stages so far, and, it’s a majority Czech project. It’s a co-production with Germany and Poland. The shooting started in Prague and then took over to Berlin and now back in Prague. And it’s very important for us because, first, it’s about Kafka, who is iconic and very much connected with Prague and with Czech culture. Secondly, because it’s Agnieszka Holland who has studied in Prague and we consider her partly a Czech director because she has done several films and she knows the culture and everything very well. And I think it’s a difficult challenge to do a film about Kafka because he’s so well known, and, everyone knows him and has an opinion about him. So, it’s quite a challenge, I would say, to go that way. Also, this year it is exactly 100 years since he passed away and he is a bit everywhere now. So, I’m very curious to see the film.
(UM): And do you have any idea about when it will be ready?
(MS): Next year, it should be ready in 2025. So, anytime between the spring and the fall, I would say. So far, that’s the plan.
(UM): When you get involved in these kinds of projects, how deep is your involvement? Do you also get involved in the script and provide recommendations, or do you let the filmmakers decide independently?
(MS): No. I’m not involved in script writing or any consultation of this kind. It also depends on the project. But we usually follow what’s going on, who is doing what. We collect information about it and then work with it towards the international film scene, let’s say. And then it depends on whether the producers are looking for something or not. Maybe they are thinking about taking part in a training program, or they just come to us to just talk, or I ask them, what is the project you have been writing? You have been supported for this script, so where is it? What are your plans? How do you financially want to structure? And then sometimes I might recommend to them to do this training program because it can be good for script development. Or to try some co-production markets because that is where you can find good partners or sales. That’s also something that we consult with producers when the film is about to be finished. If there is a works-in-progress presentation that they could attend, what would be the good timing and when do we show the film to festivals, which festivals, etcetera, etcetera? So it’s like accompanying them on the way, I would say. But how much and how deeply involved we are, depends on the project. Because if it’s a very experienced producer that already knows everyone anyway, they don’t need us that much. So then we just exchange information and agree on working together towards the festivals, as I work with them anyway all the time. It’s more like working together, like joining forces, I would say.
(UM): When you work with or support a project, do you have any kind of quota in your decision-making process?
(MS): No, I think it’s a bit more complicated in smaller countries because if you impose quotas in there, then you have to somehow fill them. And then it can be problematic. For example, we have to have five children’s films. And then you don’t have five good children’s film projects. So, then the money is somehow stuck. And you might have five fantastic documentaries. I think it’s better to have open calls for development and forproduction. At the Czech Film Fund, there is always the committee, the Fund´s Council that decides about which projects will be supported in each call and with what amount.
(UM): So you don’t have, race or gender quota?
(MS): No. But it’s taken into consideration. Not only what the project is about, but also how the team is structured. For example, if they have green shooting in mind and a sustainable approach, if they enhance more female team members, or directors or producers and they take this into consideration. And also, of course, inclusion and diversity are taken into consideration. It’s important for the council, but it’s not in quotas. It’s not in numbers. It’s more a strategy, something that is taken into consideration while evaluation the projects and deciding on the fundiong.
(UM): I should have asked you this question, but you said you have been the head of the organization for over 20 years…
(MS): Not the head these whole years. I’ve been the head of the Czech Film Center since 2011, something like this.
(UM): So, it’s still a long time. I’m just curious about what kind of major shifts you have seen during these years.
(MS): Well, I think the major thing maybe was that when we started, there was nothing. Because producers in the nineties were basically alone in doing things. They had to do it by themselves. Also, the film funding and the fund back then was very small. But the fund was reconstructed in 2013 with the new law. Before that time, it was quite difficult to manage everything. Therefore, I think the biggest challenge for us at the beginning was to establish the institution, to build up the connections and the activities. We did the first stand in Berlin, then the first pavilion in Cannes that was 20 years ago. Then we needed to establish relationships with the festivals so that we could invite programmers to Prague and show them films; this was the building up. But also locally to build up the trust of the producers, that we know what we are doing. Because it’s necessary to do it together, to join forces. For example, now I have been talking to the Venice IFFfor 20 years, every year. So, now they can trust me that I will propose to them films that could fit. It’s good to have someone who is not directly involved –I didn’t write the script for the films. I didn’t direct them. I didn’t produce them. So I’m serving, let’s say, a more general cause. I’m there in service for the Czech film, not my own business.
(UM): In Canada, when films are selected by a major film festival, there is financial support available for promoting them at the festivals. I’m curious if this is also the case for you.
(MS): It is. One of the calls is a special call from the Czech Film Fund that if you have a film selected for a festival, you can apply and you can get support. We even have some numbers. For example, you have a film in a competition in Venice. It means you can count on getting this amount. Because it’s always a time pressure. You as a producer have to organize a lot of things, prepare everything. So I think it’s better for the producers that they know approximately what they can count on. And then, of course, it’s also quite close cooperation between the Czech Film Center , the producer, the sales agent and the publicist in how to announce and how to promote the film, what to do around, and etcetera. So that’s always quite intense, I would say, the preparation and what we all should do. Sometimes, the producer doeasn’t know the festival yet. Maybe it’s their first time, but we, as the Czech Film Center, have been there 20 times. So, again, it’s like some kind of cooperation.
(UM): I wonder if there is anything left that you think might be interesting to know and we didn’t discuss.
(MS): I think maybe what also was quite a big shift in these 20 years, was the whole structure of the film industry that has been developing because there were a lot of productions coming to the Czech Republic to shoot. But also, I think, especially with the new film fund as of 2013, with the new law, when there is a clear, stable structure of financing, you know how much money there is to be granted and which calls will be when. And I think it really established, like, a solid net of support and that it’s much easier for the producers to know what will be there, when they have to be ready with the calls, Of course, also entering European Union and accessing the Creative Europe Media support, Eurimages. That’s, I think, the big change that helped also to make it more international because that’s something that you cannot avoid. And I think the younger generation of filmmakers and producers have already been born like this. It’s totally automatic for them to do a film with a Latvian, Romanian, or Swiss company.
(UM): Is this a recent change? I’ve noticed that co-productions have traditionally been between Czech and Eastern European countries, like Romania or Poland. Has this trend changed? For example, has it become more globalized in recent years?
(MS): I would say yes. Because now there are more co-productions with France, with Germany, with Poland that you mentioned, Austria. Also with with Baltic countries. It has developed and grown quite interestingly. Maybe because there is more exchange between producers on the European levelin general.
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