Finnish film productions, which tend to be small-scale, have some of the lowest carbon footprints in Europe, panelists agreed at the Finnish Film Affair industry event on Friday. But production companies still need to do better – and not just those in Finland, said Anne Puolanne, environmental specialist at APFI, the Finnish producers association.
“Finland is kind of the furthest [in limiting its environmental impact] at the moment but we have to aim for systematic change,” Puolanne said.
Among productions filming in Finland at the moment is World War II action movie “Immortal,” from “Rare Exports” director Jalmari Helander (pictured).
Experts from Finnish and European industry organizations took on the issue in Helsinki at a panel dubbed “Beyond Best Practices: What Should the Next Steps Be for a Sustainable Nordic Film Industry?”
The discussion focused on the need for common data and measurement standards for determining the environmental impact of productions, with Puolanne citing several recent studies as good examples, while arguing the need for a clearer picture.
Puolanne identified three key problems. The lack data and measurement standards that can be used to measure the environmental impact of the audiovisual industry, as well as the lack data and no clear person responsible for keeping the data or dealing with it.
She stated that production companies must know the cost versus savings associated with sustainability practices. This consensus was supported by other panelists such as Lauriane Bertrand (Policy Officer at Creative Europe MEDIA), Mikael Swensson (head of Southern Sweden Film Commission’s film commission) and Anni Wessman (head of international at APFI).
Video presentations were also given by Marina Blok, NTR’s head of drama, and Ellen Heemskerk. The Green Filmmaking Project, which began ten years ago in the Netherlands, was a positive, ambitious program that aimed to reduce the carbon footprint of Dutch productions.
It produced 1,500 green guides and set out a goal of 49% greenhouse gas reductions by 2030, but the plan floundered after a few years, said the NTR team, because of production companies concerns about “money, time, hassle and a lot of communication challenges.”
One problem was the voluntary nature of the program, said Blok and Heemskerk, who said another lesson from their experience is that productions need a dedicated sustainability manager.
Puolanne explained that very few studies have considered the entire picture, using data tools that take into account multiple locations throughout Europe and beyond.
Puolanne pointed out that a single study estimated that the annual cost to make productions greener in the European Union could surpass a billion Euros. Large numbers of LEDs are needed and there is a need for training for 300,000 people. “We need to do this kind of research every year or every other year,” She added.
Puolanne founded NEMA, an organization that helps Nordic countries implement standard green practices and measures. She also praised the recently announced partnership between APFI, Albert and the international organization Albert. Albert offers training and systems to chart the environmental effects of TV and film productions.
Svensson of the Southern Sweden Film Commission said a key issue is whether locations can be minimized – and many agreed that the current system of tax incentives used to draw in production companies from abroad is driving up greenhouse gases by creating huge impacts from traveling film crews.
Panelists suggested that even local production companies who are committed to minimizing their impact, should think about whether they need to use as many locations for stories as they do now.
Modifying incentives – or adding some to reward green practices would help, speakers agreed.
“Of course we should have a green tag,” said Svensson. “If you want the money, you should follow the rules.”
When considering what’s currently stopping Nordic countries from doing better on the environment, Svensson said, “We don’t know what to do.”
Training and education are essential steps, he said, which is an area the Albert partnership will help with.
The other issue is that productions in south Europe could have different impacts and problems than those in the north.
“We need to challenge our mindset,” Bertrand said.
When audience members asked how exhausted and stressed producers could be given a difficult task in monitoring and minimizing carbon emissions, Wessman from APFI said that the burden shouldn’t fall on those already working overtime.
Instead, green practices need to be implemented into the overall plan from the start, saving everyone both time and money – and incentivizing is the way forward, said Puolanne.