At the close of the three-day Audio-Visual Producers Summit in Trieste, The Film Verdict interviewed the man behind Italy’s global presence: Roberto Stabile. The head of Special Projects for the Ministry of Culture’s Direzione Generale at Cinecittà, he is also head of International Relations at Anica and the director of the AVP Summit.
TFV: The second Audio-Visual Producers Summit (AVP) took place in Trieste this year. What was the motivation for the summit and what were the expectations of the organizers and the attendees?
ROBERTO STABILE: The goal of the summit was extremely simple and equally ambitious. Usually, we all get very busy during festivals and markets. There are films to see, red carpet events, parties and conferences to attend, and contracts to sign. In short, there are many commitments and distractions and no time to sit around a table, look each other in the eyes, and talk about market trends or the common problems we all face in the industry, where we can analyze them and try to understand them and, if possible, come up with ways to not have to endure them passively.
The goal of the AVP Summit was to fill this gap and become the place where the highest levels of industry representatives meet in a sort of a think tank, a place where they can meet in peace and without any distractions for three days and take stock of the situation – a sort of a health checkup for the industry.
One thing struck me very strongly: many of the participants told me that in Los Angeles it would be very unlikely – almost impossible – for all of them together to find the time and a way to sit in the same room. This was one of the core reasons for the summit.
TFV: The AVP Summit managed to secure a vast array of European and Hollywood leadership to attend this three-day event. What was the attraction for the CEOs of the major studios to be present at the meeting in Trieste?
STABILE: The greatest attraction offered to the CEOs of the most respected companies was the possibility for them to meet their peers in a very informal setting where everyone participated for the same reasons. We gathered people who, in other contexts, it would be difficult to bring together back home. These were people who rarely have three days off on their calendar and who seldom allocate more than 15 minutes of their time to an appointment.
The summit rendered everyone more accessible and available, stopped the watches, deleted schedules, and brought the individual participants to the same level.
TFV: There was a wide array of panels that were productive and interesting. In your opinion, what was the general theme and take away from each panel? I also understand there were several behind-the-scenes, closed-door meetings that took place amongst the MPA and European leaders. Any insight that you can provide into those meetings?
STABILE: The topics of discussion were varied and all extremely current. Producers and creatives had the opportunity to analyze the ways in which the producers’ role has changed in the past few years with the advent of streamers, which has led to a greater number of distribution outlets, but also to soaring production costs. The participants then analyzed how Italian production companies had invested strongly in their own editorial departments, developing projects suitable for the global public and able to compete on international markets at a time of great ferment. These and many other topics were discussed at the AVP Summit in Trieste, a true platform that made it possible for the participants to discuss not just the current productions but also what will be the business of the future, encouraging dialogue, the exchange of visions and perspectives, and fostering synergies and shared policies among the various leading industry figures.
There weren’t many meetings behind closed doors and the ones that there were served only to quickly analyze the most delicate issues and to identify the topics of discussion for the next edition.
TFV: As you know, Hollywood is going through a major shut-down due to the strike. How do you feel this will affect the European or international cinema industry? Do you expect to see the strike impact the Venice Film Festival? And do you think the strike is an opportunity for European distributors to fill the content gap and sell more European and international films?
STABILE: The strike in Hollywood concerns and worries everyone. This too was talked about and analyzed in one of the panels and the conclusion was that this phenomenon is a product of the US system and that it can’t happen, let’s say, in Italy because here rights are managed in an entirely different way.
It was not assessed cynically as a situation where a crisis for you can be an opportunity for me. No one thought of offering English-language actors and screenwriters to US producers or, as you asked, using it as a pretext to export more European products. The problem was simply analyzed and its impact was evaluated.
The community spirit prevailed over business considerations, and this is something very interesting and positive.
Fortunately, I think this will not have much of an effect on the upcoming Venice festival. Of course, there will be fewer stars on the red carpet, and there will probably be some room to admit some important films from emerging countries. But I am sure that Hollywood will be well represented in Venice.
TFV: This year and last, there is a real noticeable difference in Italy’s presence on the world stage. It seems that Italy is “stepping up” its presence globally with events from Japan to China and South Africa, and you just returned from Bogotá. What’s going on? And what is Italy’s strategic mission?
STABILE: Recently, and with the decisive push of the new government, we have worked hard with an eye to internationalization.
This is something that was also noted at the Summit, where top figures of international production and distribution companies pointed out Italy’s role as a lab for the cinema industry and an unavoidable bridge between Europe and the United States, not just because it offers marvelous locations and skilled local workers, but also thanks to tax credits that are better in Italy than in other European countries. These are all things that make Italy an ideal place to shoot a film and generate millions of euros for the satellite industries across the country, benefitting tourism and creating new jobs.
Moreover, our new initiatives, starting with Italian Screens (which The Film Verdict has already covered), the Film Distribution Fund that supports foreign distributors with up to 50,000 euros for theater and 15,000 euros for platform distribution, or the fund for minority coproductions have allowed us to increase the presence of our industry and our productions abroad in an effective and incisive manner, consolidating our presence in traditional and mature territories and also venturing in newer and up-to-now unexplored ones.
TFV: Will we see a year 3 summit? And if yes, do you expect it to remain in Trieste or move to another beautiful Italian city? You must be very proud of this successful event. Any particular moment that stood out for you?
STABILE: There will certainly be a third edition of the AVP Summit and, hopefully, many more to follow.
We will announce the dates in June to make it easier for our American guests who usually go on holiday in July, and we will choose another location in our peninsula. One of the characteristics of this new event is that we choose a different location each time, placing our bets on gems that lie outside major tourist circuits and that have not yet quite established themselves as film locations.
We are already considering a couple of possibilities, just as we have started reflecting with our partners on the topics of discussion for the next edition.
The moment of pride, though strongly felt, lasted briefly as my thoughts went to the next edition, which in terms of location, guests, and topics of discussion, will have to meet the expectations and follow along the growth trend that has been with us in Matera and in Trieste. I also feel great gratitude, first and foremost, toward my team that supported me in this venture and toward our institutional partners. The Summit was born from a collaboration with PGS, which has proven to be a solid fellow traveler, and starting this year, MPA, the Hollywood studios, and our French cousins with CNC and Unifrance.
I must also mention Trieste, this Italian gem of the Austro-Hungarian Empire, which played its part with verve and discretion.
The moment that sticks with me for sure was the opening night at the Miramar Castle. The moments that were shared with the work group and all the guests remain in my heart.
Thank you, Trieste, and thank you, The Film Verdict, for having been with us in person.
–Caren Davidkhanian
