It’s hard to believe but this is actually our fifth edition of the Edisen top 100 Film funds. A lot of water has passed the bridge since we published our first edition, and the ever-changing media landscape continues to evolve. The explosion of new TV drama being produced across the globe had made a major impact on our industry, and also changed the way we finance our productions.

The idea of writing a book about the top 100 film funds came to me working with Edisen as Head of the Feature Film Department the last eleven years. I very often find myself discussing the pros and cons of operating in a certain country or region with my fellow co-producers and clients. And it very often boils down to the fact that the possibility of benefitting from national or local subsidy systems is always the stronger drive in our decision-making process. The same applies to everyone in our business, no matter how big or small the company is.

Currently, our business environment is going through a significant change where resources and funding are in constant change in many places making it more complicated to finance a project. The film business is now a global business, and filmmakers

from all over the world are looking for new opportunities on how to get the best deal for their films.

The TV market is increasing as international TV series are now pouring into the business, replacing some of the single feature film productions. The American market has since quite many years opened up and a lot of films from the US are now seeking new and more efficient ways of shooting their films and TV Series outside the U.S. Europe can, used in the right way, be a very important factor in those productions. Hopefully this guide could work as a tool for the European producer to land some of these projects.

When we commenced our research, we were all surprised to find such a massive amount of different options available. It seemed that every small region across Europe had a film fund of some sort. Quite quickly, it became apparent that it would be of great benefit to explore these different subsidies, tax incentives and investment schemes and bundle them together in one guide. The idea is to make it easier to compare the different options at hand and use this information to assist in formulating strategies regarding your project or possible expansions of your current organisation, by compiling the information conveniently into one place.

Additionally, I hope that this book can act as negotiating leverage for all the different film funds and investment bodies throughout Europe when in talks with their national or local governments. This empowerment clearly presents how other regions structure incentives in the hope of convincing authorities to engage in more competitive practices in order to attract productions beneficial to their region.

A great deal of the focus in this book is on co-productions and how to fund troubling gaps in your financial plan. Very often, domestic films funded by their regional authorities with local distribution have strict mechanisms on how they are processed and the knowledge of this among the local producers is usually quite high. The intention of this book is ideal to generate an eye-opening experience offering quick solutions in unfamiliar terrain. We are extremely proud of this book and we really hope it will make possible the continuous production of fantastic films in Europe. Enjoy!