Jean M. Prewitt is President and Chief Executive Officer, before joining IFTA, Ms. Prewitt was a Principal from 1994 to 1999 at a major Washington, D.C.-based lobbying and public relations firm, representing some of the world’s most prestigious entertainment and high technology companies. She also served as a senior government official with the U.S. Department of Commerce. In this role, Ms. Prewitt represented the White House and Executive Branch on international communications and information policy. Ms. Prewitt also worked for eight years as Senior Vice President and General Counsel of United International Pictures (UIP), the foreign distribution arm of Paramount, Universal and MGM studios, implementing the initial creation of the global distribution network and managing legal and government affairs on a worldwide basis. She began her legal career at the New York firm of Donovan Leisure Newton & Irvine, where she specialized in federal tax, antitrust and copyright litigation.
The Film Verdict: There is no doubt that you have a very impressive career, which enhances your current role as President and CEO of of the Independent Film & Television Alliance (IFTA®). What are the parallels of your past positions and as CEO of IFTA?
Jean Prewitt: I’ve been fortunate in my career to have had a 360-degree tour through the international film and communications industries, with positions in the studio system, in government policy-making roles, and in law and technology firms. All of my career-stops have been at crucial moments of change within the industry – as new technology emerged, as world markets opened, and more recently the shifts between traditional and streaming distribution, and now AI. Those experiences certainly have informed my work at IFTA.
TFV: According to the IFTA website, “The Independent Film & Television Alliance (IFTA) supports, protects and advances the global independent film and TV industry,” in general terms. How? And an example you can share with us?
JP: We support the independent industry and our Members at multiple levels. Most of our companies are small to medium size, very entrepreneurial companies. We provide the building blocks for their businesses: for example, we create and update the IFTA Multiple International Licensing Agreements (MILA) – the standard contractual forms for documenting international distribution deals used by the industry at large. Our IFTA Collections service has collected more than $155 million in secondary royalties on behalf of the companies whose works the servicef represents. IFTA Certificates of Origin provides the documentation Members need to export their films, without expensive and time-consuming trips to consulates and notaries. More broadly, IFTA actively lobbies in the U.S. and around the world on business-defining issues such as copyright protection and anti-piracy tools, media consolidation, and the removal of market barriers. And of course, we produce the American Film Market which is a cornerstone of the independent film business.
TFV: What are leading common challenges you see across your global membership in more than 20 countries?
JP: The Independents continue to battle to maintain strong copyright protections and prevent illegal exploitation of their works, to ensure open marketplace access throughout the channels of distribution and in every territory, and to protect the producers’ ability to assemble the rights and to manage exploitation of their works.
TFV: Although, obvious differences, there are some similarities between IFTA and the Motion Picture Association, oddly, it is the similarities which perhaps could cause conflict, what is the relationship between IFTA and MPA and have there ever been points of conflicting interests which needed to be addressed?
JP: We work very closely with the MPA on many issues in the United States and partner with them in coalitions around the world. We are closely aligned on copyright, trade, and economic development, and share common views on the challenges ahead of the entertainment industry. Because the business models followed by the studios and independents diverge, we may diverge where market power and media consolidation are at issue.
TFV: Several high profile American independent producers have recently expressed to TFV the challenges they are facing in maintaining the Rights of thier own productions. Unlike thier European counterparts who enjoy a more Producer friendly climate, what are your thoughts on the future of American Independent Producers and how valid are their concerns and worries?
JP: For independent producers, ensuring that they can retain, control, and fully exploit their creative work is of supreme importance. Where major streamers (or broadcasters) take all rights as part of the production deal, producers are left with no library of works and no revenue flow from new exploitation opportunities. In some countries, there are emerging industry-wide negotiations to manage trade practice; in others, the competitive marketplace may provide an antidote. IFTA Members share these concerns, leveraging commercial production finance and negotiating with a broad range of distributors to avoid full buy-out of rights. International co-productions can provide an additional way to structure rights and distribution.
TFV: Digital markets” are emerging in various countries and on various platforms, what gives AFM its in-person staying power and what continues to make AFM releavant?
JP: We are a collaborative industry that relies on personal relationships, so face-to-face-business will always be important. The AFM is placed at an important point in the industry’s calendar – six months after Cannes — and sets the clock for new films and packages to be introduced and “market tested” for production to start in the new year. The in-person AFM also can generate an auction environment between buyers and territories. The AFM’s location also gives access to the full Hollywood and “Silicon Beach” community, with talent, creatives, financiers, agents, and industry professionals all at close hand. Over six days, more business is done during AFM than at any other film event.
TFV: Do you see the opportunity to create a year-long “digital marketplace” for your members?
JP: The AFM’s focus is and has always been to provide the most efficient and productive in-person market that the independent industry needs each Fall, with IFTA providing year-round services to support our Members’ sales activities. Online, year-round, IFTA Members are capable digital warriors, using the technologies and platforms that best suit their individual business needs and models.
TFV: The American Film Market was founded in 1981, it has seen tremendous changes in the film business over years, have you seen both IFTA’s and AFM roles change?
JP: IFTA and AFM roles have always been to support the independent industy and facilitate information and opportunity for independent product to flourish. The mission hasn’t changed, but we evolve regularly to meet the emerging demands of the industry. For instance, the AFM has condensed recently from eight days to six to make it more efficient and cost effective for our constituents, a change made possible because new technologies allow business deals to be concluded easily after market. IFTA relies more heavily on expert views offered via webinars, rather than written reports and lobbies on a wider range of issues than a decade ago.
TFV: How has the Streamers (Netflix, Amazon, etc) affected the sales at AFM? Do the streamers attend AFM for international acquisitions?
JP Streaming in general has established a whole new revenue stream for licensing content. We see all the major platforms at AFM each year as well as new ones launching both domestically and in territories around the world. Aggregators and distributors who are partnered with the various streaming platforms are also there.
TFV: Regarding “buyers” at AFM have you seen an increase in the number of acquisition executives attending the Market?
JP: The number of buying companies and territories coming to AFM has stayed strong. Already this year, our buyer numbers are trending up which is exciting since several territories, especially in Asia, were not able to be at AFM in 2022 due to COVID travel restrictions.
TFV: Many film festivals around the world have attempted to add a “market” aspect to the the festival. Have you ever considered adding a festival aspect to the market? And in the same line, since many of your IFTA members have won presitgious Film Awards, has IFTA ever consider its own Award platform, especially since AFM is in the middle of Award Season?
JP: From time to time, we’ve partnered with a festival and held award ceremonies at AFM when the opportunity was the right fit. AFM’s strength is that it is a targeted business-to-business event that enhances the opportunity for buyers and sellers to do business and have discussions about the state of the marketplace. Our goal is to make it as easy and productive as possible for deals to be done, while also creating a space for the global independent community at large to come to network and learn.
TFV: What can you tell us about AFM 2023 – new location, and its long-term future growth.
JP: There is tremendous energy and anticipation for this year’s market. A new home after 30 years is exciting and the reactions from our Members and other partcipants when they tour the Le Méridien Delfina is so positive. This venue lends itself to a whole different look and vibe for the market — cooler and more intimate — and still close to our attendees’ favorite Santa Monica spots. The AFM Sessions, our conference event, will be at the Hilton Santa Monica, just around the corner. This year’s event is going to have a true AFM Campus feel to it. We’re always looking for ways to evolve and improve our AFM offerings and are already starting to plan for 2024!
TFV: What’s one or two things you absolutely love about your job?
JP: The enthusiasm with which IFTA Members and colleagues approach each new project and their survival skills in the face of industry turbulence are inspiring – and everyone at IFTA takes seriously our role in protecting the independent spirit.
The Independent Film & Television Alliance (IFTA®)
The Independent Film & Television Alliance (IFTA®), the global trade association of independent distributors and producers of motion picture and television programming. Headquartered in Los Angeles, the organization represents and provides significant entertainment industry services to Member companies from more than 20 countries, consisting of independent film and TV production and distribution companies and sales agents — those companies that operate without the benefit of a wholly-controlled global distribution network, thus relying upon licenses to local distributors for the financing and exploitation of their productions.
Since Prewitt, appointment as president and CEO, in April 2000, IFTA and the services it provides to its members have dramatically evolved. Its most visible service continues to be the annual American Film Market (AFM) in Santa Monica, which has grown to be the world’s largest film market. Markets, in contrast to festivals, focus on the conclusion of financing and licensing deals to place films and programs into theatrical, television and digital distribution around the world. Each year, AFM hosts more than 7,000 industry leaders from 80 countries for a week of deal-making, 400 screenings, networking and the industry’s preeminent conference series. AFM 2023 will return to Santa Monica October 31 – November 5 allowing the global industry to immerse themselves for five days dedicated to deal making, discovery, education, and reconnecting.
With wide-ranging expertise in motion picture distribution, new technologies and public policy, Ms. Prewitt spearheads IFTA’s activities to foster broad-based growth of the industry. As the voice and advocate for the independents, IFTA speaks out on matters of critical importance and actively lobbies governments around the world in regard to measures directly affecting the industry, including media consolidation, trade barriers, net neutrality, the impact of new technology on traditional business models, piracy and the need for strong legal frameworks for copyright protection. Since March 2020, IFTA has been a leading voice advocating for pandemic relief measures for the industry worldwide and continues an aggressive campaign for insurance and financing solutions for film and television production.
