Steve Solot
American born Steve Solot is President and CEO of LATC (Latin American Training Center Brazil) and President of the Rio Film Commission (RFC), which is part of the Audiovisual Industry SICAV and sponsored by RioFilme, a Rio de Janeiro initiative which promotes national audiovisual and media arts.
Before moving to Latin America, Mr. Solot attained MA degrees in Economics and in Latin American Studies. After almost 25 years spent living in Brazil between Sao Paolo and Rio and working in the audiovisual sphere as Senior VP of MPAA (Latin American division of Motion Picture Association of America), Steve Solot is now founder and President of the Latin American Training Center-LATC, (Centro LatinoAmericano de Treinamento e Assessoria AV) in Rio de Janeiro, which provides a training ground for Brazilian and LATAM (Latin America) film and media producers.
Every year, Steve Solot brings a group of LATC producers to LA for a total immersion retreat inside the Hollywood film industry. One day of this immersion program includes a market visit to AFM (American Film Market). 2015 marked the 7th annual LATC trip led by Mr. Solot.
I interviewed Steve during his trip to LA with LATC. Here is what he had to say:
AFM Interview:
How did you get involved working in Brazil and specifically the Rio Film Commission?
I was invited to establish the Rio Film Commission in 2009 by the Secretaries of Culture of the State and City of Rio de Janeiro at that time. They were aware that I had recently left the Motion Picture Association, and believed that my knowledge and contacts in the Latin American and US film industries would be a great asset for the promotion of Rio nationally and internationally.
Prior to joining the Rio Film Commission, I founded the Latin American Training Center-LATC, (Centro Latino-Americano de Treinamento e Assessoria Audiovisual) LATC, which operates from Rio as a regional consulting and media training center. It conducts workshops and professional training programs for audiovisual content producers, and offers a full range of consulting and representation services. www.latamtrainingcenter.com Previously, I served for over 20 years as Senior VP, Latin American Operations of the Motion Picture Association - MPA, the US film industry trade association of the major US studios including: Buena Vista International (Disney), Sony Pictures International Corp., Paramount Pictures Corp., Twentieth Century Fox International Corp., Universal International Films, Inc., and Warner Bros. International Theatrical Distribution. In that capacity, I was responsible for government relations and operations management of all territories in the region, in all-media sectors, including: theatrical, home entertainment, broadcast television, Pay-TV and protection of intellectual property rights in digital environments.
Can you explain the functions and benefits of working with the Film Commission?
The Rio Film Commission is sponsored by RioFilme, the municipal agency for the promotion of audiovisual content and investment. It provides support for production of all formats of audiovisual content in the city and state of Rio de Janeiro, and promotes the region as a premier destination for location shooting, as a means to contribute to economic development and job creation.
I am also the Founder and Executive Director of the Brazilian Film Commission Network (Rede Brasileira de Film Commissions-REBRAFIC) the national Film Commission association whose objectives include: ensuring a standardized, high level of support for national and international producers, promoting all regions of Brazil as premier locations for national and international productions, and making available information on film commissions from all regions of the country. The members of REBRAFIC include 10 operational film commissions, as well as 16 film commissions in the process of formation in 14 states and the federal district. http://www.rebrafic.net
Despite an economic crises in Brazil and much of Latin America, do you think it is advantageous for foreign productions to film in Brazil and LATAM and why?
Historically, economic crises generate opportunities and Brazil and Latin America are no different. In the case of the current recession in Brazil, one of the side effects has been the significant devaluation of the local currency which has made shooting international productions relatively cheaper. In general, Latin America has been slow to develop incentives to attract international production. At present, only Colombia, Dominican Republic, Mexico and Panama offer rebates, grants, or other forms of fiscal incentives specifically aimed at attracting foreign productions. Brazil has yet to adopt such a measure.
What are the complications foreign producers might face producing a film in LATAM without the help or involvement of RFC?
Producers everywhere need to understand and make use of film commissions. Their services are invaluable and can often save producers time and money. Film commission personnel are professionals who not only are trained to provide support and location shooting information; they can often expedite the issuing of film permits and identify local production services necessary for foreign productions.
What are some of the films the commission has produced in the last five years?
A few films supported by the Rio Film Commission include: “Trash” directed by Stephen Daldry “Fast and Furious Five” directed by Justin Lin “Twilight Saga: Breaking Dawn – Part 1” directed by Bill Condon “Elite Squad” directed by José Padilha “Elite Squad – The Enemy within” directed by José Padilha “The Incredible Hulk” directed by Louis Leterrier “Moon over Parador” directed by Paul Mazursky “Reaching for the Moon” directed by Bruno Barreto “Rio, I love you” directed by Vicente Amorim and 10 others “Wild Orchid” directed by Zalman King
Can you explain the complications of the Brazilian and LATAM market in comparison to the US market and why the two are so difficult to bridge together?
Brazil is perceived as a “difficult” market by US producers. The US does not have co-production treaties with any other country, and Brazil is no exception. On the other hand, a “financial” co-production with Brazil is feasible but can be quite complex and bureaucratic. Although Brazil does not offer foreign production incentives, it does provide a vast system of incentives and funding mechanisms for local content at the municipal, state and federal level. It is possible to qualify for such incentives via local producers. Film Commissions can open the door to such incentives and also provide recommendations for local producers depending on the profile of the foreign project.
Where do you think, or hope, the Brazilian, LATAM and international markets will be in the future, more in sync with each other or even more locally polarized?
The performance of Latin American economies and film industries are notoriously volatile and erratic. Although the general trend has been positive, as local industries have become more “professional” they are still subject to local political changes which affect policy and funding. Local content market shares can be dramatically affected by a single local “blockbuster” which has often been the case in every market, as with “Elite Squad” in Brazil, “Instructions not included” in Mexico and “The Clan” in Argentina. The local industry market share in Brazil for example, was 18% in 2013, 12% in 2014, and is approximately 8% in 2015.
You are here at AFM with a group of film prize winners. Can you explain the total immersion program you head and what the goal is?
The LATC Global Audiovisual Industry Immersion Program is an opportunity to experience an “immersion” into the US audiovisual industry. Through an intensive schedule of meetings, presentations, roundtables and networking with film and television executives, consultants, talent agents, entertainment lawyers, each participant in the LATC Immersion Program has access to commercial, legal, marketing, artistic, academic and new media aspects of the US audiovisual industry in Los Angeles. This year is the 7th edition of the LATC Immersion Program and includes participants from: Australia, Brazil, Cambodia, China, Colombia, Dominican Republic, Ecuador, Italy, Japan, Korea, Mexico, Nigeria, New Zealand and Vietnam. During the Program, participants may ask specific questions and discuss their projects with US-based producers, agents, studio executives and distributors, to generate real possibilities for development, financing, distribution and co-production. The participants also have access to both the American Film Market, the premiere global marketplace for films, and the AFM Conferences Series.
You recently published your 4th book on pan-LATAM cinema. Can you explain to us what your vision is with these books?
LATC publishes both technical and non-technical books on the Brazilian and Latin American film industries. Last month, we launched “Brazilian Cinema Today: Essays by Critics and Experts from Across Brazil” which is a unique collection of articles by leading film critics, spanning Brazil from Rio Grande do Sul to the northern state of Pernambuco, and offering a panorama of current trends and the evolving Brazilian film industry. The compilation is not only a reference tool for the study and debate of Brazilian Cinema, but also serves as a sounding board for some of the country’s most representative film critics on themes of critical importance to their respective cities and regions.
Last year we published a technical book, “Current Financing Mechanisms for Audiovisual Content in Latin America” which contains articles by a select group of legal and technical experts on the current, principal mechanisms of financing audiovisual content, and corresponding c legislation from 13 Latin-American countries: Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, México, Peru, Puerto Rico, the Dominican Republic, Uruguay and Venezuela. It is a valuable source of information for policy makers, legislators, investors, attorneys, producers, distributors and other professionals in the audiovisual industry to promote the common objective to expand the Latin American audiovisual content industry in a global context. LATC also published, “A Guide to Film Commission in Brazil” and “Latin American Cinema Today: The Director’s Perspective”, among others.
See the most recent LATC book on Amazon here:
You have contributed so much to international film via your involvement with Brazil and LATAM film, what is next on your slate for future endeavors?
We are now developing new partnerships with well-known international organizations in Latin America and the US, in order to provide new consulting services and audiovisual training programs for US filmmakers interested in the Latin American markets, and Latin American producers who aim to do business in the US market. They will be announced soon.
In addition, in December, during Ventana Sur in Buenos Aires, LATC will announce the winner of its annual Latin American Screenplay treatment competition for film students in the region, in partnership with CILECT, the International Association of Film and Television Schools. Also, in Buenos Aires, in conjunction with the Latin American Film Commission Network and the Argentine Film Institute – INCAA, LATC will conduct a free Film Commission Workshop to provide basic training for existing and future film commission personnel in Argentina. LATC is also preparing a new edition of “The Brazilian Audiovisual Industry” which will contain articles on every segment of the industry, and will be launched during the Rio Content Market in March 2016.
Interview by Vanessa McMahon; Posted November 12, 2015
ABOUT LATC:
The 7th LATC Global Audiovisual Industry Immersion Program is an opportunity to experience an “immersion” into the US audiovisual industry. Through an intensive schedule of meetings, presentations, round tables and networking with film and television executives, consultants, talent agents, entertainment lawyers, each participant in the LATC Immersion Program were given access to commercial, legal, marketing, artistic, academic and new media aspects of the US audiovisual industry in Los Angeles. This edition of the LATC Immersion Program includes participants from: Australia, Brazil, Cambodia, China, Colombia, Dominican Republic, Ecuador, Italy, Japan, Korea, Mexico, Nigeria, New Zealand and Vietnam. During the Program, participants will have the opportunity to ask specific questions and discuss their projects with US-based producers, agents, studio executives and distributors, to generate real possibilities for development, financing, distribution and co-production. The participants will also be provided with an access to the American Film Market, the premiere global marketplace for films, and access to the AFM Conferences Series on Finance. The LATC Global Audiovisual Industry Immersion Program is organized by LATC with support by the Independent Film and Television Alliance-IFTA.
LATC – Latin American Training Center / Centro Latino-Americano de Treinamento e Assessoria Audiovisual is a media training, consulting firm and publisher based in Rio de Janeiro, Brazil, founded by Steve Solot following over 20 years of experience representing the US major studios in Latin America as Regional Vice-President of the Motion Picture Association (MPA).
LATC is focused on the new generation of audiovisual content producers in Latin America, based on new technology business models and digital rights management concepts. In addition to organizing technical training workshops for professional filmmakers throughout Latin America, it publishes technical and non-technical books on a variety of audiovisual topics. LATC also offers full-service consulting for content producers, film commissions, film festivals and other industry players in specific audiovisual, fiscal incentive, co-production and legal areas.
LATC is affiliated to CILECT, the International Association of Film and Television Schools (Brussels, Belgium), IFTA Foundation – Independent Film & Television Alliance (Los Angeles, US), IFP – Independent Filmmaker Project (New York, US), NALIP – National Association of Latino Independent Producers (Los Angeles, US) and EGEDA – Entidad de Gestión de Derechos de los Productores Audiovisuales (Madrid, Spain). LATC also maintains working agreements with The Incentives Office (Los Angeles, US), the law offices of Cesnik, Quintino & Salinas (São Paulo, Brazil) and CDAS – Cowan, Debaets, Abrahams & Shepard (New York) and the Americas Film Conservancy. http://www.latamtrainingcenter.com