Thematic area: Audiovisual

EU Programme: Media

Name of project: The Triplets

Lead institution/Consortium of Partners: Cromosoma S.A.

Description of the case study :

Introduction

Cromosoma is a young Catalan company which has very successfully expanded from producing a cartoon series in book form, to producing films of the same characters. Their main asset are the Triplets, who are perceived in Catalonia as being authentically Catalan in inspiration and expression, and often in content as well. The books and the films are distributed in Catalonia in Catalan.

Selection of possible EU sources of funding; finding, collecting and analysing calls for proposals

A member of the secretarial staff has the specific task of monitoring the relevant EU calls for proposals, and informing the rest of the staff as soon as one is published.

The company has accumulated 7 or 8 years of experience in designing successful proposals for MEDIA programme calls.

They download and carefully read all the available information on the EU website announcing and accompanying each call for proposals. The whole process is complex, and further complicated by the fact that, though the calls have improved over the years, they are still unclear in places, and very generic. In particular, they are not well adapted to cartoon films (which Cromosoma has specialised in). The firm has over the years come to have a good working relationship with contact persons at the Commission, and this is very helpful for clarifying any doubts they may have. They often meet these people at European cinema fairs, which Media representatives generally attend. However, EU staff mobility is high, and this makes it necessary to constantly get to know new officials.

They do not feel the need to use other bibliographic sources to strengthen their proposals.

Other sources of funding

The company self-funds whatever the EU cannot co-fund. All their projects are intended as commercial ventures that will be sold on the international market. The EU co-funds up to 50%, though it doesn't usually reach this figure.

Following the first year, when a substantial grant was applied for, the financial assistance the company asks for is in the form of a loan.

The fact that EU funding is obtained has not opened up other sources of funding. On the contrary, the authorities in Spain and Catalonia tend not to co-fund EU-supported projects, regarding them as having enough support already!

Partners

The project is a three-minute pilot film which will, at a later stage, be used to try and find both co-producers to help fund the full series, as well as television companies interested in buying the production. Curiously enough, given the Catalan image the company has, in order to sell such a product it is made in English. At a later stage up to 20 language versions of these films will been made, including of course Catalan.

No partners are needed, though, for this stage of the process. Later on, at the production stage, Catalan or Spanish co-producers are found.

Aims/purposes of the project

The idea of putting a proposal to the EU in the first place came when, very shortly before the deadline, the company received information about a Media call. On the first occasion, about 7-8 years back, the proposal design phase had to be completed extremely hastily.

Collecting and taking into account experiences of other projects

The company did not search for similar experiences which could help to design or define the project. The Media antenna in Barcelona was and has continued to be helpful. They would recommend such a step to other organisations if and only if they have plenty of advance warning about the call, and therefore plenty of time to draft their proposal and, if need be, to set up a consortium of partners.

What problems/difficulties did you have (if any) when you designed the proposal?

Analysis of stakeholders

The company has a great deal of experience in working in the world of film production, and has not felt the need for specific studies on identifying the stakeholders, and their interests and opinions regarding the problem to be solved, or the challenge to be addressed, in any given proposal, including this one.

Analysis of the present situation (problem tree)

The film industry, and particularly in its dealings with television compsanies, has to face a rapidly changing market. This dynamism makes it essential to be extrenmelky well informed about developments, in order to take advantage of new opportunities and to stay competitive.

Selection of the topic

The company is careful to ensure that the general and specific aims of the project fitted into the priorities laid down in the EU call for proposals.

Setting up a team to devise and design the proposal

The drafting team consisted, as usual, of the internal production team, and usually outsiders who have brought their ideas to the firm.

The team members on the company's staff have plenty of experience in developing similar proposals.

To avoid problems in trying to coordinate or integrate those involved in designing the proposal, the company negotiates conditions carefully beforehand.

Self-evaluation systems (ante, ex, post)

No special attention is given to taking into account potential risks on the success of the project, nor are such issues discussed in the application.

Since the aim is fairly straightforward - the production of a three-minute pilot production - the execution of the project has never encountered obstacles. The company's proposal is never highly specific, and this allows for some flexibility which, of course, need not be explained to rthe Commission.

Working language(s)

The firm has no problems as regards the working language between any partners or potential co-producers, and adopts English as the working language whenever necessary. The staff is sufficiently equipped both to work in English and to work on international projects.

Literature review/relevant documentation selection

Letters of support to the proposal are sometimes obtained from relevant institutions in the field, and included in the application, particularly when a television company states a firm interest in the production.

Determining the work plan and time

The firm is used to developing work plans, and this experience is also useful while writing the proposal.

Budget issues

The company carefully reads the EU financial statements of the call for proposals, and works on a budget below the upper limits fixed by the Commission for expenses related to travel and accommodation expenses, honoraries fees, salaries by category and per day, etc.

In this specific case, a grant is not the aim of the company, but rather a loan, which is returned once the pilot film starts to attract customers for the serie or production.

Problems are encountered when filling in the EU forms. As stated above, they are sometimes unclear or inappropriate.

Over the years, and thanks to the early warning system in the company, proposals are drafted and posted meeting the deadlines of the call for proposals. Over the years they have learned to plan better, and to liaise better with Commission staff. The largely repetitive nature of the calls is also a help.

European principles and criteria mentioned in the call are carefully adhered to. The call is clear in its evaluation system for proposals, as regards, for instance, the varied nationality of members of the team.

Comments or recommendations

Our informant said that his company obtained a grant the first first time it applied, (when it was far less well-known than it is today). This suggests that the selection procedure is not elitist, and is therefore open to newcomers with good projects.

There seem to be no language requirements in the calls, which means that proposals for productions are considered independently of the language they are to be produced in.

More information :

Address:
Mr. Àngel López, Financial Director
Cromosoma S.A.
c. Perú 174
08020 Barcelona
Tel.: +34 93 266 42 66
Fax:
e-mail: alopez@cromosoma.com
URL: http://www.lestresbessones.com / http://www.thetriplets.com/