Page 69 - 2012 Annual Report

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VIVENDI l 2012 l Annual Report
2
2
SOCIETAL, SOCIAL AND ENVIRONMENTAL INFORMATION
SECTION 2 - SOCIETAL INFORMATION
SOCIETAL INDICATORS
Percentage of CNC-approved French-initiative films financed by
par Canal+ and associated amounts
GRI UNGC OECD
MSS M3 1, 2 II, IV
2012
Canal+ Group 52.6% (€170 million)
Note: Subject to finalized consolidated figures to be published in CNC’s Annual Report
in spring 2013.
In 2012, Canal+ was the leading source of funding for French cinema. It
actively supports film production, financing 52.6% of French films approved
by the CNC (Centre National du Cinéma et de l’image animée ) in a total
amount of €170 million.
For several years, Canal+ Afrique has supported numerous African film
productions. In 2012, seven film projects were co-financed: Dakar Trottoir
by Hubert Labandao, Sans regret by Jacques Trabi, Un reptile par habitant
by Zeka Laplaine, Run by Philippe Lacôste, Des étoiles by Dyana Gaye,
Rapt à Bamako by Cheick Oumar Sissoko, and Roger Milla, les 4 vies
d’une légende by Jean Patoudem. In 2012, Canal+ Africa contributed
to the distribution and development of African cinema by broadcasting
11 African films on its channel and for several years has supported three
major festivals: the pan-African film festival of Ouagadougou (FESPACO),
the Festival Ecrans Noirs and the Festival Clap Ivoire.
Number of first films financed by Canal+
GRI UNGC OECD
MSS M3 1, 2 II, IV
2012
Canal+ Group 25
Note: Subject to finalized consolidated figures to be published in CNC’s Annual Report
in spring 2013.
Canal+ Group pays particular attention to discovering talent and
supporting young filmmakers. In 2012, the Canal+ channel pre-purchased
25 French-initiative first films.
Moreover, apart from the talent identification program, Repérages, the
channel develops specific programs to identify new talent:
✱ the “ Écrire pour” collection is an annual call for projects from young
filmmakers and producers who are given the opportunity to make a
short film with a professional cast. Short films are broadcast live, at
the Clermont Ferrand festival and at the Cannes International Critics’
Week;
✱ the “La Nouvelle Trilogie ” is a call for projects attracting over 600
applications, with the three best going into production. The aim is to
give young authors and filmmakers the opportunity of creating their
first series (3 x 26minutes) or film (90 minutes) for television;
✱ the “Laboratoire d’images” is developed in association with 3D
graphics schools; and
✱ the magazine “L’Oeil de Links” showcases web talents.
Filmmakers whose films were produced or coproduced by
StudioCanal during the year (by citizenship)
GRI UNGC OECD
MSS M3 1, 2 II, IV
StudioCanal, a wholly-owned subsidiary of the Canal+ Group, plays a
central role in nurturing this diversity with a rigorous policy in terms of
production, distribution and optimizing the cinematographic heritage.
StudioCanal, which now comprises the French entity as well as its British
(Optimum Releasing) and German (Kinowelt) subsidiaries, has established
itself as a leading European player in the coproduction, acquisition and
distribution of films. In 2012, nearly 2,600 cinematographic works were
exploited by StudioCanal in at least one of these three countries and
approximately 1,000 titles in other countries. StudioCanal is now also
present in Australia and New Zealand following to the acquisition of
Hoyts.
In 2012, StudioCanal produced 17 full-length films from filmmakers of
seven different nationalities:
✱ French (Boule & Bill by Alexandre Charlot and Franck Magnier, L’écume
des jours by Michel Gondry, Hotel Normandy by Charles Nemes,
Nenette by Josiane Balasko, Le grand départ by Nicolas Mercier, Max
le millionnaire by Nicolas Cuche, and Casse tête chinois by Cédric
Klapisch);
✱ British (Paddington by Paul King, I Give It a Year by Dan Mazer, In Fear
by Jeremy Lovering);
✱ Belgian (Thunder & the Enchanted House by Ben Stassen, African
Safari 3D by Ben Stassen);
✱ Spanish (Mindscape by Jorge Dorado, Non-Stop by Jaume Collet
Serra);
✱ Iranian ( Two Faces of January by Hossein Amini);
✱ Canadian ( Last Exorcism 2 by Ed Gass-Donelly); and
✱ American (Inside Llewyn Davis by the Coen brothers).
2.2.5.3. KNOWLEDGE SHARING
In 2003, knowledge sharing was identified by Vivendi as a third strategic
issue within its scope of responsibility (please refer to Section 1.1.1. of
this chapter). The Group’s shared issue include being demanding about
the quality of content, promoting pluralism and facilitating access to
information and communication technologies.
2.2.5.3.1. PLURALISM OF CONTENT
Respect for freedom of expression is inscribed in Vivendi’s Data and
Content Protection Charter. With approximately 94 million subscriptions
worldwide, the Group pays particular attention to pluralism, quality of
content and clarity of processing information.