The presidential election was held. The regulation of media, culture and cinema is now a priority for the new government and for the French regions. A new National Film Center governs French cinema.
France is scared.
France is divided.
Frexit is threatening!
Unemployment has become a separation criterion. A wall stands! We must act!
Even the cinema, this haven of peace and communication between humans, is affected!
On December 12, the morning papers were celebrating the arrival of a young gentleman appointed by the government to be director of cinema. A man named Ploquin, film director, sets out his program giving birth to a new National Film Center.
First clean the Augean stables that was the film industry.
To be able to practice, film workers will have a professional licence ID assigned by an advisory commission to those who are worthy. No one will work in a production or distribution company if he is not holder.
The number of firms will be limited. There is no point, for a company, to produce only one film a year. We must improve the quality of French films. The essential control will be exercised by the censorship board. The projects will be submitted to the board, in synopsis form, and will only be brought into production after visa approval.
In 2009, as part of the modernization of the cinema law, the former regulation rules, which was then a system of authorization to exercise for film industry companies, and professional licence ID for technicians, had been abolished, despite the opposition of the only representative union.
Were only maintained but adapted the licence system for movie theaters.
These errors, which came from a bygone and illusory past, had to be rectified.
Whereas technician associations were recently fighting for the institution of job definitions in the film business, nothing had been done to define the professional criteria of these positions. Who wants to be a rerecording mixer, sound editor, sound mixer, can become one, whatever may be his training and experience.
As the "personal training account" entered into force early 2015, a reflection comes naturally on restoring the cinema professional licence. Nothing had been provided in this law for the validation of professional experience. Film technicians even found themselves most disadvantaged in front of producers, and absolutely anybody could practice the profession (whereas you need a certificate of professional competence to be a butcher).
The 12 new French regions, the 5 overseas regions, and Corsica, took control of the labor market. Especially by their obligation to contribute to the film budget.
Only those whose professional licence ID will show up the stamp of the region, because they have actually taken up residence in this region, will be able to work there.
For the sake of republican equality, the same rules apply to the Île-de-France region.
So the sound mixer who lives in Reims (90 miles away from Paris), in this very large and rich territory that is now "Alsace, Champagne-Ardenne and Lorraine", at will, may work on a film shoot in Strasbourg (220 miles away from Reims), but will not be able to practice his trade in Paris.
Exceptionally, the advisory board, whose members are appointed by the new director, and which is the only body empowered to deliver this essential sesame that is the professional licence, may, for some film shoots and some notable personalities in the art, according to strict professional criteria, grant a derogatory temporary local visa.
It was also very important to underline that our professions needed a visibility which is not only defined by the only 507 hours criterion (requirement for social unemployement care) and the goodwill of managers producers, and it was appropriate to have a framework that allows for real equivalences and for assured and successful vocational retraining.
The great Reform that will save French cinema is at last under way.