In Australia, some have suggested that a narrow definition of „local content“ has limited Australia`s ability to work with international partners. Julia Hammett-Jamart reflects france`s and Australia`s different approaches to this and argues that a literal definition of Australian culture was „antagonistic to the collaborative nature of film production and in particular international co-production.“    Performances guaranteed in advance by co-producers are often the springboard around which the rest of the international tour is built and organized. And you`ll be able to use the first presentations to invite the moderators to see the work (don`t forget to deal with that in the agreement). There are different models and an understanding co-production – here are 5 common (and an unusual) that we will go further down. In most cases, there is only one producer who assumes all the responsibilities (artistic, financial, legal, etc.) with a number of co-producers who support or facilitate certain aspects of the production process. The contract should be clear on all aspects of the co-production process and allocate the roles and responsibilities of each partner throughout the preparation, presentation and tour. It may be necessary to review a contract if a project changes over time. Topics that can be discussed with any partner include practical arrangements and other topics such as: access to spaces, production meetings, communication, opening/guests, technical requirements, pro rates/schemes, ticketing, press/PR, touring, fees and fees, tax issues, social security issues, and work permits, insurance. Of course, we have some advantages that work within the EU, which will facilitate some of these problems. Be aware that things are getting much more complicated outside the EU – visas and work permits pose a major problem with 3-a-way cooperation. The countries of the world because of national rules.
This should be taken into account when planning the project, so that the agreed timetable is as realistic as possible. Co-productions generally take time and need to be planned in depth to enable each stage to overcome all obstacles and exploit their full potential. In many cases, co-productions address the challenges of internationalizing countries with small production sectors, as they aim to maintain a viable productive industry and produce culturally specific content for the domestic audience. However, these two objectives are also causing tensions within the national film and television sectors. Although a co-production agreement may provide more resources, international production may be less relevant to its target groups than local productions. Sometimes, in co-productions, producers can agree on different credits for each area, which gives more importance to the producer in each region.