Co-Production in International Television: Making the Marriage Work by Leo Eaton The following article was excerpted from one written by Leo Eaton for the U.S./NHK Co-production Seminar, held in Honolulu, Hawaii, December 1992. It is reprinted with permission of the author. The idea of co-production is very good, very necessary. It is the sort of thing that senior executives and broadcasters around the world say, "Ah, yes, we must do it," and assume that just by saying it, they can make it happen. But if we are going to be honest, no producer really likes doing co-productions. They're difficult. They're complicated. They cause a lot more work. I think we all wish we had sufficient money, sufficient resources and sufficient international awareness to just go off and make the sort of films that we want to make. But that's not the world we're living in. We can't afford to fund the programs we want to make so we have to co-produce, and we have to learn how to make it work. And not only may we actually enjoy the process, but we may also widen our own perspective and make a more interesting and less insular program. That means knowing very clearly both how similar we are to our partners, and how very different we are. A colleague at NHK once mentioned that co-production is like an "omiai," an arranged marriage. I think it is. In any marriage, there are major crises that come and go. And on the first major crisis, either a divorce happens or the marriage is stronger because of it. You survive the first crisis and the worst may be over. Other crises will come and go but you now have a history of working through problems. A partnership is developing. There are actually very few projects that lend themselves to true co-productions, and one of the first rules is to know when a project is not suitable. If it is wrong, don't try it. As we find ways to work together, what becomes critical is a quality visual style and story-telling approach to documentary filmmaking that can work for audiences in all of our different areas, and different markets. How do we deal with issues of creative control? How do we deal with issues of editorial focus? One of the cardinal rules of co-production - and in some cultures one of the most difficult to follow - is the need for candor. We must curtail some of the diplomatic politeness at the outset of a production and quickly reach the intent - making programs that work. Ultimately, we will be judged on the quality of the show. We have to find a way to satisfy both of our audiences and still make the co-production work. We all want to make good films with good story-telling and good camera work and good editing. The components of good films are universal; the styles and the way we approach our subjects that are different. All of us have a different way of looking at the world, no matter how similar or different we seem. We also often have a different approach to filmmaking, a different approach to telling a story. In the U.S./ Japan seminars, we take time to look at each others' films and talk about these differences. Approaches that we consider natural and acceptable in may be totally unacceptable to the Japanese, and vice versa. We need to know and understand that. For a co-production to succeed, the partners must understand organizational structures and how they work. What are the lines of authority in a production crew? Even terminology can be different or mean different things. An overview of production pitfalls and how to avoid them is crucial. Stylistic differences can also make or break a successful co-production. For example, feature documentaries in America differ significantly from their Japanese counterparts. In America, we think in terms of telling a story by developing a story dramatically, following a character with dramatic story development, and using the camera and editing to enhance the story. At NHK, documentary comes from a journalism background. The facts are important, not the film, style or storytelling. The camera work is often incidental, and includes handheld camera work with little concern about focus or extraneous movement. Differences also emerge in editing. In America, the editing process can take up to three or four months, while at NHK, two to three weeks is the norm. It isn't that one approach is better, it again deals with style. We tend to edit visual images into an effective story; for the Japanese the approach is based on the script. Everything is plotted before entering the editing room and then the film is assembled shot by shot with little room for visual variation. Other stylistic differences bear mentioning such as the use of hosts. Although this device may work within a country, using a host does not strengthen the transferability of a co-production. Pacing should also be examined and dealt with before production. American audiences generally like fast-paced shows, with quick cuts and aggressive dramatic development. Countries such as Japan and England tend to prefer something slower-paced, with less talk and a sense of becoming part of what is happening on the screen. Story structure is an important element in the development of co-production treatments. The American sense of the dramatic in its documentaries may cause problems with a Japanese audience that is used to a more journalistic approach. Also, one must consider symbolism. Words, expressions, and images can send entirely different messages to audiences from different cultural backgrounds. Both sides must be aware of the use of symbols in terms of what they convey. Finally, remember that when we are engaged in a co-production, we must assume that the project will be viewed in more countries than those of the co-production partners. If a project can work successfully in two different countries, then it will no doubt have value in a more global sense. As we become more active partners in international co-production, many of these problems will disappear - and no doubt be replaced by new ones born of familiarity in working together. But we must remember that co-productions can and do work if both sides are willing to meet each other half way. At the end of a project, if we come away with a program and a new relationship that will endure, then the co-production has been a success. Co-productions are about building trust between people, and between organizations. Once we have established trust, the rest is easy. Or if not easy, then at least not as impossible as it sometimes seems. Leo Eaton is executive producer with Cafe Productions, an international production company. He has survived the battles of many co-productions, such as MiniDragons and, most recently, Alexander the Great. His most recent productions for kids include a preschool series, Zoboomafoo. He has worked in television and film in the U.S. and Great Britain, and has written several children's books.