Zurich Talks

Wednesday, October 4, 12 until ca. 13:15: Entertainment Marketing

Entertainment Marketing is ubiquitous. On the one hand side classical advertising is increasingly reaching its limits, on the other, Film and TV producers are continuously searching for new sources of finance. Entertainment Marketing or Branded Entertainment is now a catch phrase on everyone’s lips. But what is Entertainment Marketing? A commercialisation of art or an ideal addition to film financing?

With PC Fueter (C-Films, Producer of Lüthi & Blanc, Grounding), Claudia Bossert (Swiss Television, Director of Communication and Marketing) Alexander Oswald (Nokia, Marketing-Manager Austria/Switzerland for Mobile Telephony, Multimedia and Enterprise Solutions) et al.

Presenter: Manuel Nappo (CEO, Creative Assets)

Thursday, October 5, 12:00 until ca. 13:15: Film Financing in Switzerland and Abroad

States and regions canvass worldwide with various tax systems and an often controversial subvention policy for the coveted economic and cultural asset of film. Is this subventioning practice up to date or has it already been overtaken by market orientated creative solutions? The rapid development of digital technology consistently alters classical realisation structures – what chances do they offer, particularly to newcomers? How do new financing models look and how successful are they? What roles do states, distributors, TV broadcasters and banks play in the successful financing of a film?

With Nicolas Bideau (Federal Office for Culture, Director section Film), Urs Rohner (Credit Suisse Group, Chief Operating Officer and General Counsel), Markus Barmettler (Media Advocate and Film Producer).

Friday, October 6, 12.00 until ca. 13.15: Soundtrack and Score – more than just background music

What would film be without music? In addition to targeted cross-marketing possibilities with the music branch, film music is becoming increasingly important with regards content. It has been long customary in the international film arena for film composers to produce compositions on the basis of the screenplay, and for music and image to emerge parallel to each other. Music as an important dramaturgical means is incorporated at a very early stage into the project. Switzerland is lagging behind in this development. What chances and possibilities does a closer collaboration of directors, authors and producers with composers and record companies bring?

With Jan Harlan (producer of Stanley Kubrick films) and Daniel Goodwin (Director of Marketing and Media for Deutsche Grammophon) et al.