CNC<\/a>). \u201cWhat would have cost roughly\u202f$65\u202fmillion in the U.S. was shot here for one-third of that budget, proving our crews can blend practical effects, cutting\u2011edge VFX, and bold direction \u2014 all while recasting France as an innovative, cost\u2011efficient hub for independent filmmaking.\u201d<\/p>\n\n\tStill, 2024 proved a mixed bag, as awards buzz and Olympic visibility raised France\u2019s profile, all while strike aftershocks, streamer belt\u2011tightening, and Olympic logistics curtailed inbound shoots. Just\u202f55 productions claimed the Tax Rebate for International Productions (TRIP)\u2014on par with pre\u2011pandemic figures but well below the 2022 peak.<\/p>\n
\n\tEven so, total spend in France held near\u202f$3.4\u202fbillion for a second straight year, with about\u202f$540\u202fmillion coming from foreign\u2011led projects \u2014 now a sturdy baseline as updated rules increasingly let streamer titles count as local productions.<\/p>\n
\n\tMeanwhile, thanks to the France\u202f2030 modernization plan, projects from around the world can tap upgraded infrastructure. AMC\u2019s \u201cThe Walking Dead: Daryl\u202f Dixon\u201d and the Cannes\u2011bound feature \u201cThe Great\u202fArch\u201d both filmed on the vast TSF Backlot\u202f77 even before the complex officially opened last October, while the studio\u2019s signature Paris streetscape stood front-and-center in the Olympic opening ceremony, hosting a Jacques\u202fTati\u2011style chase led by Zinedine\u202fZidane and seen by an estimated\u202f1\u202fbillion viewers.<\/p>\n
\n\tCentral to the modernization plan is the ambition to lure international productions \u2014 and keep them. The strategy paid off with Prime Video\u2019s recent series \u201c\u00c9toile,\u201d which showrunners Amy\u202fSherman\u2011Palladino and Daniel\u202fPalladino had initially planned to film in both Paris and New\u202fYork, mirroring the story\u2019s two\u2011city setting. Only once on the ground, the producers opted to stay put, building a Manhattan\u2011style hospital inside the same studio complex that had previously played Tinseltown\u2011sur\u2011Seine for Fargeat.<\/p>\n
\n\t\u201cThese productions aren\u2019t just looking for postcard Paris,\u201d Augrain says. \u201cThey recognize a full offer that includes quality of service, know-how, and equipment \u2014 really, everything to meet their needs beyond our heritage and the natural, scenic appeal of our locations.\u201d<\/p>\n
\n\tMind you, France\u2019s scenic landscapes can do double duty, as seen in recent thrillers like 20th\u202fCentury Studios\u2019 \u201cThe\u202fAmateur\u201d and Apple\u202fTV+\u2019s \u201cPrime\u202fTarget.\u201d Both globe\u2011trotters shrank their carbon footprints by filming France\u2011for\u2011France before using nearby spots to double for Istanbul and Baghdad.<\/p>\n
\n\tBy sheer scope, though, Amazon\u2019s upcoming feature \u201cHeads\u202fof\u202fState\u201d reigns supreme. Heeding veteran line producer John\u202fBernard, the team ditched plans for dual hubs in Italy and England and moved the entire production to the South of France. From a central base in Nice, Bernard\u2019s crew found stand\u2011ins for Spain, Italy, Serbia, Croatia, the U.K., the U.S. and Poland\u2014leaning on the virtual backdrops and smart sets of the nearby Studios\u202fde\u202fla\u202fVictorine when needed.<\/p>\n
\n\t\u201cIt all comes down to clever production design and thinking a little bit out of the box,\u201d Bernard says. \u201cAt this point, people across the global industry know exactly what France can do.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"Charting a course from the Croisette to the Oscar stage, recent standouts like \u201cThe Substance,\u201d \u201cFlow\u201d and \u201cEmilia…\n","protected":false},"author":2,"featured_media":84787,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5309],"tags":[6639,40841,2000,299,36],"class_list":{"0":"post-84786","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-france","8":"tag-cannes-film-festival","9":"tag-cnc","10":"tag-eu","11":"tag-europe","12":"tag-france"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/114472609704024453","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/84786","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=84786"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/84786\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/84787"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=84786"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=84786"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=84786"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}