Stefania Ippoliti President Of Tuscany Film Commission
Over the past two decades, local Film Commissions have emerged as indispensable tools for Italian and international content production. They offer crucial support, locations, skilled personnel (maestranze), funds, and fiscal incentives, turning Italy into a significant hub for audiovisual content creation.
According to a study by ANICA (Italian Association of Film, Audiovisual, and Digital Industries) and APA (Italian Audiovisual Producers Association), the number of Italian series and films produced from 2017 to 2022 has tripled, with tax incentives playing a pivotal role.
The tax incentives played an essential role in this increase.
“Incentives are only national,” explains Stefania Ippoliti, “the famous 40% tax credit, despite its uncertainties, is the key to Italy’s comeback as a preferred location for major international productions.
Still, regions have financial tools to encourage foreign production in Italy.
Regions participate in calls for the allocation of funds for development or production. However, their best assets are the efficiency of Film Commissions, the territories’ beauty, and the quality of life. This is a significant advantage compared to economically more favorable places such as Eastern Europe.
A stay in the Chianti hills in Tuscany is not comparable with the mists of Transylvania.
And it’s not our only advantage. The professionalism of companies and services also matters. The Tuscany Film Commission, like other entities, offers searchable CVs of skilled workers so that productions can find a substantial local workforce, avoiding the need to pay for travel.
It’s impressive that TFC processes requests within 24 hours. Can you provide more insight into how this quick and tailored service has contributed to the success of productions like Alfonso Cuaron’s Disclaimer, Florian Baxmeyer’s One Trillion Dollars, or HBO’s Succession series?
We have committed to responding quickly to the questions we receive, even when we can only provide preliminary answers. Taking too much time to give a sign of life is very counterproductive, especially for us: our Film Commission, established in 2007, has had sporadic opportunities to provide funds for productions, so we have sought other strengths. We have relied on services, efficiency, and speed.
Tuscany is also a very vast region. How do you manage such a large territory?
We have established a functional network of relationships with local authorities. The TFC (Tuscany Film Commission) has its headquarters in Florence and other offices in Prato, Pisa, and now Pistoia, but above all, it has a cinema desk in every municipality in the region, a contact person, usually in the mayor’s office, to whom my colleagues turn for questions, requests, and information about the territory.
A film or television production is an opportunity but also an activity that impacts the territory.
Therefore, we do not ask local administrations to give anything away. We do not ask for free permits or the gratuity of hotels and services. We believe it is suitable for the film industry to pay. Productions in the area generate beneficial returns but impact communities, so it is ok to establish a give-and-take relationship.
Everything starts with a phone call or an email.
Usually, they call us and explain the type of story they want to tell and the locations they are looking for. We offer our rich photographic database and a list of valuable location managers because Tuscany has an extensive territory, and someone familiar with the locations is needed. For example, Garrone’s Tale of Tales was filmed at the Vie Cave of Sorano, an incredible place that even Tuscans know little about. It is suitable for us to discover the wonders of our home.
Speaking of discoveries, let’s talk of the so-called Set Jetting phenomenon, meaning tourism linked to film locations.
When we had Indian productions filmed in Tuscany, grand Indian weddings blossomed in our territories. Fairy-tale weddings: in Florence, we had elephants on the streets. Movies inspire people; a moving image is very suggestive, especially if filmed by a great director.
The TFC grants approximately $1.1 million annually to eligible productions. Could you elaborate on the criteria that productions must meet to qualify for this funding?
It is directly the Region of Tuscany, not the Film Commission, that allocates these resources through public tenders. Starting this year, Regional President Eugenio Giani has decided to fund a pool for productions using European Fesr funds (European Regional Development Fund), which are financing tools to improve the efficiency of businesses in various sectors, including cinema.
What are the criteria for accessing these funds?
For example, suppose an American production wants to access them. In that case, there must be an Italian executive producer because there are a series of requirements to meet – regarding the regularity of payments to personnel and others – that only an Italian or European company can fulfill.
Are co-productions, therefore, favored?
To grow smaller Italian audiovisual companies through co-productions and launch them into international markets are one of the Italian state’s and regions’ objectives. The FESR funds serve precisely this purpose.
Together with ITTV International Forum and GGP, you have created Showrunner Lab, a series of courses to launch the profession in Italy. Why do you believe this career is necessary to be learned?
It began with observing numerous TV series (branded Netflix, Amazon, HBO) filmed in Tuscany. We discovered the pivotal role of the showrunner in serial productions—they oversee the production of all episodes. Given the potential change in directors for individual episodes, maintaining artistic and organizational coherence is crucial. Italian producers express concerns about the showrunner wielding excessive power, and Italian law does not help because it identifies the helmer as the creative director. It is imperative to acknowledge the need for a more efficient working model.
Do you intend to propose a reflection on this matter?
Yes, next year, with the new edition of Showrunner Lab, we would like to involve institutions, the Ministry of Culture, and producer associations so that an open discussion could lead to gradual change.
For whom is Showrunner Lab intended?
This year, our target audience comprised professionals who were young yet already established in their respective fields. Their enthusiasm waned as they contrasted the anecdotes shared by our Showrunner Lab mentors with the challenges they encountered in their daily work. For instance, the screenwriter of Marefuori, a recent standout Italian success, has never had the opportunity to see the set.
Let’s talk about Manifatture Digitali in Prato. Can you share insights into this initiative’s significance?
Tuscany’s distinctiveness lies in its rich heritage of artisans and traditional crafts. Recognizing the need to extend opportunities beyond their traditional domains, we established a transformative initiative. Commencing with the textile district of Prato, we engaged tailors, milliners, goldsmiths, and diverse artisans in crafting costumes for Tuscan productions and beyond. This initiative has proven to be highly successful.
How does it work?
Producers cover the expenses for designers and raw materials, while we supply master craftsmen and young artisans who are skilled in their crafts but new to the cinema industry. This mutually beneficial approach ensures a high standard of production quality. These workshops serve as hubs for learning and refining skills, acting as stepping stones for individuals entering the audiovisual sector market. Notably, participants from the Showrunner Lab had the chance to explore the workshops for the TV series Belcanto, scheduled to air on Rai Uno. The costumes crafted by our artisans are truly exquisite.
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Gianfranco Cordara
Massimiliano Narciso, Lead Character Designer at Netflix and Oscar winnerRelated Posts
Over the past two decades, local Film Commissions have emerged as indispensable tools for Italian and international content production. They offer crucial support, locations, skilled personnel (maestranze), funds, and fiscal incentives, turning Italy into a significant hub for audiovisual content creation.
According to a study by ANICA (Italian Association of Film, Audiovisual, and Digital Industries) and APA (Italian Audiovisual Producers Association), the number of Italian series and films produced from 2017 to 2022 has tripled, with tax incentives playing a pivotal role.
The tax incentives played an essential role in this increase.
“Incentives are only national,” explains Stefania Ippoliti, “the famous 40% tax credit, despite its uncertainties, is the key to Italy’s comeback as a preferred location for major international productions.
Still, regions have financial tools to encourage foreign production in Italy.
Regions participate in calls for the allocation of funds for development or production. However, their best assets are the efficiency of Film Commissions, the territories’ beauty, and the quality of life. This is a significant advantage compared to economically more favorable places such as Eastern Europe.
A stay in the Chianti hills in Tuscany is not comparable with the mists of Transylvania.
And it’s not our only advantage. The professionalism of companies and services also matters. The Tuscany Film Commission, like other entities, offers searchable CVs of skilled workers so that productions can find a substantial local workforce, avoiding the need to pay for travel.
It’s impressive that TFC processes requests within 24 hours. Can you provide more insight into how this quick and tailored service has contributed to the success of productions like Alfonso Cuaron’s Disclaimer, Florian Baxmeyer’s One Trillion Dollars, or HBO’s Succession series?
We have committed to responding quickly to the questions we receive, even when we can only provide preliminary answers. Taking too much time to give a sign of life is very counterproductive, especially for us: our Film Commission, established in 2007, has had sporadic opportunities to provide funds for productions, so we have sought other strengths. We have relied on services, efficiency, and speed.
Tuscany is also a very vast region. How do you manage such a large territory?
We have established a functional network of relationships with local authorities. The TFC (Tuscany Film Commission) has its headquarters in Florence and other offices in Prato, Pisa, and now Pistoia, but above all, it has a cinema desk in every municipality in the region, a contact person, usually in the mayor’s office, to whom my colleagues turn for questions, requests, and information about the territory.
A film or television production is an opportunity but also an activity that impacts the territory.
Therefore, we do not ask local administrations to give anything away. We do not ask for free permits or the gratuity of hotels and services. We believe it is suitable for the film industry to pay. Productions in the area generate beneficial returns but impact communities, so it is ok to establish a give-and-take relationship.
Everything starts with a phone call or an email.
Usually, they call us and explain the type of story they want to tell and the locations they are looking for. We offer our rich photographic database and a list of valuable location managers because Tuscany has an extensive territory, and someone familiar with the locations is needed. For example, Garrone’s Tale of Tales was filmed at the Vie Cave of Sorano, an incredible place that even Tuscans know little about. It is suitable for us to discover the wonders of our home.
Speaking of discoveries, let’s talk of the so-called Set Jetting phenomenon, meaning tourism linked to film locations.
When we had Indian productions filmed in Tuscany, grand Indian weddings blossomed in our territories. Fairy-tale weddings: in Florence, we had elephants on the streets. Movies inspire people; a moving image is very suggestive, especially if filmed by a great director.
The TFC grants approximately $1.1 million annually to eligible productions. Could you elaborate on the criteria that productions must meet to qualify for this funding?
It is directly the Region of Tuscany, not the Film Commission, that allocates these resources through public tenders. Starting this year, Regional President Eugenio Giani has decided to fund a pool for productions using European Fesr funds (European Regional Development Fund), which are financing tools to improve the efficiency of businesses in various sectors, including cinema.
What are the criteria for accessing these funds?
For example, suppose an American production wants to access them. In that case, there must be an Italian executive producer because there are a series of requirements to meet – regarding the regularity of payments to personnel and others – that only an Italian or European company can fulfill.
Are co-productions, therefore, favored?
To grow smaller Italian audiovisual companies through co-productions and launch them into international markets are one of the Italian state’s and regions’ objectives. The FESR funds serve precisely this purpose.
Together with ITTV International Forum and GGP, you have created Showrunner Lab, a series of courses to launch the profession in Italy. Why do you believe this career is necessary to be learned?
It began with observing numerous TV series (branded Netflix, Amazon, HBO) filmed in Tuscany. We discovered the pivotal role of the showrunner in serial productions—they oversee the production of all episodes. Given the potential change in directors for individual episodes, maintaining artistic and organizational coherence is crucial. Italian producers express concerns about the showrunner wielding excessive power, and Italian law does not help because it identifies the helmer as the creative director. It is imperative to acknowledge the need for a more efficient working model.
Do you intend to propose a reflection on this matter?
Yes, next year, with the new edition of Showrunner Lab, we would like to involve institutions, the Ministry of Culture, and producer associations so that an open discussion could lead to gradual change.
For whom is Showrunner Lab intended?
This year, our target audience comprised professionals who were young yet already established in their respective fields. Their enthusiasm waned as they contrasted the anecdotes shared by our Showrunner Lab mentors with the challenges they encountered in their daily work. For instance, the screenwriter of Marefuori, a recent standout Italian success, has never had the opportunity to see the set.
Let’s talk about Manifatture Digitali in Prato. Can you share insights into this initiative’s significance?
Tuscany’s distinctiveness lies in its rich heritage of artisans and traditional crafts. Recognizing the need to extend opportunities beyond their traditional domains, we established a transformative initiative. Commencing with the textile district of Prato, we engaged tailors, milliners, goldsmiths, and diverse artisans in crafting costumes for Tuscan productions and beyond. This initiative has proven to be highly successful.
How does it work?
Producers cover the expenses for designers and raw materials, while we supply master craftsmen and young artisans who are skilled in their crafts but new to the cinema industry. This mutually beneficial approach ensures a high standard of production quality. These workshops serve as hubs for learning and refining skills, acting as stepping stones for individuals entering the audiovisual sector market. Notably, participants from the Showrunner Lab had the chance to explore the workshops for the TV series Belcanto, scheduled to air on Rai Uno. The costumes crafted by our artisans are truly exquisite.
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Gianfranco CordaraMassimiliano Narciso, Lead Character Designer at Netflix and Oscar winner
