An American in Paris...or Cologne...or Dublin...

Call me crazy, but I think there's going to be considerable opportunity for the American creative community in Europe as we approach the turn of the century.

And this is in spite of the fact that, at the present time, there seems to be a strong trend towards more locally produced programming in almost all of the European countries. It's also in spite of the fact that we've all heard the horror stories of American producers who have had bad European experiences (Though I dare say, we've probably not heard the European producers' horror stories about bad experiences with American producers!) And, yes, it's in spite of the fact that American television buyers have gone out of their way to indicate a lack of interest in European-produced programming, especially if it must meet any European "content" requirements. So, why do I feel there's opportunity just over the horizon?

First, the advent of the 500 Channel Universe will create greater demand for programming than at any other time in the history of our medium. That's the good news. The bad news is that the creation of all these new channels won't create one additional viewer. So, the 500 Channel Universe is going to have to divvy up the same audience (and revenue) that many years ago was the collective realm of ABC, CBS, NBC and PBS. It doesn't take a rocket scientist to figure out that license fees for original fiction (drama/comedy) on any of these new channels can't possibly match the license fees that would be available if we only had four channels. Therefore, in order to maintain high production values and reduce costs, I think we'll find American producers fuming more and more to intentional partners. And Europe is the logical starting point.

Second, the production value race has always been won by American product. As soon as the cycle in Europe turns back to more internationally flavored projects, American-style programming will be in high demand.

Third, as the 500 Channel Universe and a United Europe become more of a reality, we need to examine how we expect to do business with Europe. "European Content" makes it possible for Europeans to forge borderless partnerships and produce projects with the high production values ordinarily associated with U.S. product. This means it will be harder for U.S. producers to compete for the European television dollar. And this is not about quotas. (In my view, quotas will be a thing of the past in the not-too-distant future.) No, it's about a more subtle kind of protectionism: if a European buyer looks at two similar projects and one is a pure acquisition from a major U.S. producer with no European Content and one is a European Content co-production between a U.S. company and a European company, then my guess is the European Content show gets the nod. It's human nature.

The key, of course, to all of the above will be finding projects which have appeal to both the American and European audiences, and which lend themselves to co-productions. And the key to the co-production is creative oversight. That's where I feel the opportunity for the Hollywood creative community comes in. For years, American writers, producers and directors have managed to create consistently high quality product that has more or less set the standard for the international fiction television market. It's my view that the talents of these people will be in greater demand as the international market grows. (One major U.S. studio already has given its international television division the mandate to find projects with American appeal that can be produced in Europe as European Content under the supervision of a U.S. producer.)

The right creative oversight is what will enable the American networks to relax a little about the European content issues. If the network executive knows he/she can deal with someone he/she trusts, then the comfort zone around the project is enlarged and the anxiety created because the show is being produced halfway around the world is significantly diminished.

Also, the right creative oversight will enable the European television market to feel comfortable about creating partnerships with American producers. Even now, with much of Europe focused on locally-generated programming, Europeans recognize the value of the American creative community. For example, scores of Europeans now attend NATPE and many of them want to work with American talent; one producer is acquiring American screenplays and hiring American directors to shoot the movies in his home country; another, who owns the rights to a series of books by a popular European author, has hired an American writer to adapt one of the books into a screenplay and to supervise the adaptation of several others by European writers; and several European broadcast networks have made non-exclusive deals with high-priced American series creators.

I want to make it clear that none of the foregoing is meant as a reflection on the talents and abilities of the European creative community, which are considerable. It is simply an acknowledgment that there are different creative requirements for European domestic product and international product, and the Americans seem to have the stronger track record when it comes to the international arena.

So, is there going to be a landslide of European co-produced product on American television? Of course not. Shooting in Europe is not the answer for every production. It's not even the answer for most productions. But for the right production, it can be a most rewarding and profitable experience. Three years ago, I was privileged to have a positive, if strenuous, co-production experience filming in France and Germany on The Disney Channel's Cable ACE Award-winning movie, The Whipping Boy, which was produced by Gemini Filmproduktions in Association with Jones Entertainment Group and Le Sabre Productions. This experience was proof enough for me that though it's never easy, it doesn't have to be disastrous - and it can be successful for all concerned.

So, how does it work? The European partner contributes a significant portion of the budget in exchange for your pledge to 1) shoot the project mostly in his country, 2) spend a certain portion of the budget on local goods and services and 3) qualify the project for European Content, the regulations for which are fairly reasonable. (The Whipping Boy, for example, had an American writer, a British director, an American composer, an American producer, a German producer, a French co-producer and American executive producers - and still qualified for European Content!) The European producer also expects to have a voice in the creative process. I didn't have a problem with this because both my partners on The Whipping Boy proved themselves to be responsible, reasonable and caring producers. They are still two of my most trusted colleagues and I'm currently developing projects with each of them - the results of our surviving a trial-by-fire together.

By definition, a co-production is intended for the international market, so it must be shot in English and requires American pacing and production values. Opportunities for American creative elements abound. So, if you like a challenge...and you've got a strong constitution...and you're willing to be patient...and you communicate well...go for it.

See you in Paris...or Cologne...or Dublin ...