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Eric Vogel

Producer on the Move 2007 – Norway


Eric Vogel

Eric Vogel has a producing degree from The Norwegian National Film School at Lillehammer. He is producer within Tordenfilm AS, a development and production company for film and television established in 2003 and located in Oslo. His first film as a producer is Sons [+see also:
film review
film profile
, a gritty and fast-paced drama from the wrong side of the tracks in Oslo, marking the feature debut of director Erik Richter Strand.

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Cineuropa: What has been your background and how did you decided to become a producer?
Eric Vogel: Always a film fan, I made some terrible home movies when I grew up. Older and a little wiser I enrolled in film school after a few years of working in radio journalism. I've always loved bringing a team together and seeing a project come to fruition, so when I combined this with my film interests, producing became the obvious choice.

You produced the film Sons, the directorial debut of Erik Richter Strand. Was it a choice to produce your first film with a new director? How did you put the financing together?
Sons was a first feature for many of central crew, including the director, writer, cinematographer and myself. We all met in film school, and the project also originated there. From this it became a natural choice for a first project for all of us. The financing was put together from a philosophy that this was as a small, local feature, and a debut to boot. The public Norwegian Film Fund contributed a solid share to begin with, and securing the remainder was quite manageable after that, mostly due to a very strong script.

2006 has been a record year for Norwegian films at home, with admissions reaching a level not seen since the last 30 years. How do you explain this phenomenon?
There are a number of factors. The single most important was perhaps the reform of the public funding system in 2001, with an emphasis on getting more feature films produced per year, has honed the skills of the filmmaking community and subsequently improved relations with local audiences. This, combined with an influx of fresh talent from both the relatively new national film school as well as from schools abroad, created a positive resonance that culminated in last year's breakthrough year. I believe the trend will continue in the years to come as well.

In its effort to support the current wave of success of the local film industry, the Norwegian Ministry of Culture announced early this year it will allocate an extra € 3.4m for film production in 2007. Do you think this Government and the Norwegian Film Fund are going in the good direction?
Absolutely. We are currently blessed with a strong political enthusiasm for Norwegian filmmaking. High goals have been set for the future, and I think the entire industry will stretch to reach them. I believe the solution for the future of Norwegian filmmaking and local production companies lies in building networks on a Nordic and European scale to have a more solid ground to stand upon

What do you expect from the “Producers on the Move” event organised by the European Film Promotion?
I expect it to be an inspirational meeting place, and a chance to discuss future projects with possible co-producing partners.

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