Danish Film Agreement

DSF deals with various legal matters: we assist with interpretation, application and the establishment of contracts. We assist insolvency claims or administrative decisions, advise and implement the procedure relating to accidents at work. A rather particular type of case, but very frequent, concerns the exploitation of the image of our members, etc. DSF enters into various businesses with Stills users and ensures that these agreements are respected. In addition, DSF has entered into an agreement with an external lawyer who leads the DSF proceedings, which are of a more general nature. Finally, Mr. Ladegaard highlighted the three main priorities for the FDHA over the next five years: increasing the cultural impact of Danish films in Switzerland and abroad, continuing the digital transformation of the sector by pursuing innovation and insisting on an increased degree of diversity, particularly with regard to gender, social origin and ethnicity. DSF has set up a rights service to protect the remuneration of rights that cannot or are not distributed individually and which, therefore, are used for collective purposes, in accordance with laws, agreements and agreements. Under the Copyright Act, fees for rights are means of financing theatrical, cinematographic and musical productions. They are distributed once a year by the DSF Production Promotion Committee as collective remuneration for private copying and must be requested. Rights remuneration is also funds that cannot be distributed separately because there is no basis for distribution or because they have expired.

A former film producer, Ladegaard has worked at the FDHA since 2006 and became head of film promotion in 2015 before taking over as CEO on 1 January 2018. He outlined three key priorities for the FDHA over the next five years: cultural impact, digital transformation and more diversity. “The whole discussion about diversity is very important,” he said. “There was a discussion about gender, but also about social origin and geography in Denmark. By having stories from different backgrounds, by seeing us as a company and people from different angles, it increases the quality of the films. “It is also encouraging that political parties continue to ensure the development of talent as an important driver of Danish cinema and that the focus is on the urgent task of digitising historical films and presenting them both through cinematheque activities throughout the country and at the FDHA`s historical streaming sites. In recent years, the majority of national productions supported by the Danish Film Institute (DFI) have received grants of between €2.5 million and €3.5 million. FDHA CEO and former producer Claus Ladegaard wants the panel to be able to finance national films with a higher budget, perhaps in the range of €6-8 million. In this context, he added: “It`s important for us… .