As a seasoned film industry veteran with decades of experience under my belt, I must admit that the current wave of productions returning to Spain is truly exhilarating. The allure of the Bardenas badlands, much like a siren’s song, beckons filmmakers from all corners of the globe.
The upcoming movie “The Last Druid,” starring Russell Crowe, is undoubtedly one of the most anticipated productions showcased this week at the American Film Market. Its production companies – Range Media Partners, Nostromo from Spain, CAA Media Finance, and AGC International – are planning to film the movie in Spain.
Norman Reedus, star of AMC Networks “The Walking Dead: Darryl Dixon” was besieged by fans late August as he shot Season 3 in Madrid, which looks set to double for London, double-decker red bus with signage for Trafalgar Square being caught on video cruising central Madrid streets.
Last year, director Guy Ritchie filmed “In the Grey,” starring Henry Cavill, for 35 days on the Canary Island of Tenerife in Spain. Additionally, he captured some scenes for “The Ministry of Ungentlemanly Warfare” within the same country.
As a dedicated movie enthusiast, I had the privilege of watching “This City is Mine,” masterfully led by none other than Sean Bean, who you might recognize from “Game of Thrones.” This gripping drama was brought to life by Left Bank Pictures for BBC One, and it was filmed in the picturesque city of Marbella over the months of March, April, and early May.
“Venom’s Final Showdown,” starring Tom Hardy, reportedly shelled out $39 million for filming in Spain, partially at the rejuvenated massive production facilities, Ciudad de la Luz.
Shows like “Under Paris” from France, starring Bérénice Bejo, and “Zorro,” featuring Jean Dujardin on Paramount+/France Televisions, were both filmed in Spain. Currently, productions such as BBC/Amazon’s “The Night Manager” Season 2, a co-production with Nostromo, and “Weiss & Morales,” produced by ZDF Studios/RTVE, are being filmed in Spain as well.
Despite delays caused by U.S. strikes affecting several productions in Spain, their roster of recent international filming projects remains extensive.
Since the 1950s, significant film productions have originated from Spain, or were helmed by Samuel Bronson himself, such as “El Cid” and “The Fall of the Roman Empire.” In recent years, Ridley Scott filmed “1492” and parts of “Kingdom of Heaven” (2004) and “Exodus: Gods and Kings” (2014) in Spain. Warner Bros.’s “Clash of the Titans” (2009) and “Wrath of the Titans” were filmed on the Canary Islands, while Jonathan Glazer’s “Sexy Beast” (1999) was shot on Andalusia’s Costa del Sol.
Spain started gaining significant attention as a prime international filming location for major productions, largely due to the phenomenal success of HBO’s “Game of Thrones” starting from Season 5 in 2014. This show found some of its iconic, breathtaking locations in Spain and also the introduction of tax incentives in Spain from 2015, Netflix deciding to establish its first European Production Hub in Madrid in July 2018, and the tremendous success of “Money Heist,” which Netflix announced in their Q1 2018 results as their most-watched non-English language series to date, further cemented Spain’s status.
Produced by a Spanish cast and team, “Money Heist” showcased the rich pool of technical expertise in Spain, standing out as a significant endorsement in the increasingly globalized movie and television industry.
As of January 1, 2023, Spanish tax incentives for international productions and domestic shows have been ranked among the most competitive globally. The cap for TV episodes in mainland Spain is set at €10 million ($10.9 million) per episode, while investment or spend relief ranges from 25%-30%. In the Canary Islands, these benefits increase to a relief of up to €18 million ($19.6 million) per TV episode, offering breaks of 45%-54%, and in the Basque Country’s Bizkaia region, deduction rates can reach as high as 60%.
In terms of film production, mainland Spain limits returns to approximately €20 million ($21.8 million) per project, while the Canary Islands provide a maximum refund or credit of around €36 million ($39.2 million).
Now, as international shoot destiny, Spain is definitely on the radar.
The Magical Society, a joint French-UK production company, is planning a mini-series featuring scenes shot amidst the vast desert sand dunes. One potential location for filming could be Spain, according to J.J. Lousberg, the managing director and producer at Magical Society U.K.
More and more, international production companies are turning their attention towards Spain due to its advantageous economic climate and exceptional infrastructure. This trend is further boosted by Spanish productions gaining global recognition,” stated Erik Barmack, VP of international originals at Netflix upon the establishment of its European Production hub. Now leading Wild Sheep Content based in L.A., this company creates shows across various countries such as India, France, Chile, and Mexico.
As a passionate admirer, I can confidently say that Spain stands out as one of Europe’s most dynamic and robust film production markets. Its combination of strong production capabilities, abundant talent, and impressive infrastructure truly sets it apart.
In addition to Spain, some leading European locations are now playing a role in a fresh global movie funding framework shaped by economic conditions within the industry.
Presenting “The Last Druid” in Spain will bring co-production funding to the film, along with significant incentives and exceptional crews. Additionally, it positions ‘The Last Druid’ as a European production, which increases its worth for European broadcasters, Stuart Ford, chairman-CEO of AGC Studios, stated prior to unveiling the Russell Crowe starrer as its international sales agent at this week’s American Film Market.
Given that it’s tough to reach pre-sales in the U.S., it’s crucial now more than ever to maintain the cost of production after incentives at a level low enough so that the price for international pre-sale buyers remains reasonably affordable,” he emphasized.
Furthermore, as suggested by Barmack, Forde, and Ford, an abundance of international films isn’t solely about tax incentives. Instead, let’s explore four productions that demonstrate how the need to film in a specific country frequently stems from other factors. A favorable tax system can make it feasible.
“This City Is Ours,” (BBC, Left Bank Pictures, U.K.)
In an interview, Simon Maloney, hired by Left Bank Pictures (backed by Sony Pictures TV), stated that choosing Spain for the filming of “This City is Ours” was an intuitive decision. Written by Stephen Butchard, known for his work on “The Last Kingdom,” and directed by Saul Dibb, renowned for “The Sixth Commandment,” this upcoming BBC series is billed as a major drama for 2025. Starring Sean Bean as Ronnie Whelan, a gang leader from Liverpool who owns a villa in Marbella, Spain – a key gateway for cocaine in Southern Europe – the eight-part series appears to be one of the BBC’s most substantial productions.
As a devoted fan, I’m thrilled to see the revitalization of an exceptionally fruitful collaboration on Europe’s film scene, between Left Bank and Palma Pictures based in Mallorca, led by Mike Day. This partnership brought us the critically acclaimed Sky 1 series “Mad Dogs” (2011-2013) that spanned four seasons. Later, Palma Pictures handled productions for “The Crown” (2016-2023) and “Who Is Erin Carter?”, Netflix’s third most popular show of any language in the second half of 2023. Filming for these series took place across various locations in Catalonia, including the vibrant city of Barcelona.
In Spain, they have access to breathtaking settings such as those depicted on “This City is Ours,” where the Colombian cartel’s headquarters were situated in the exclusive area of Marbella – a villa perched precariously on a cliff edge reminiscent of a Bond villain’s lair, according to Maloney. Additionally, El Torcal National Park, with its striking beauty, is also found in Spain, as noted by Maloney.
During periods when television show budgets are tight, the production team found ways to cut costs effectively.
In the series “The Crown,” various locations in Andalusia stood in for Athens, Australia, and Hollywood. Similarly, in the show “This City,” Malaga Port took on the role of Santander’s port in northern Spain, while a cafe near Marbella was designed to resemble one situated centrally in Spain.
Additionally, “Palma Pictures provided us with a production hub at the Wyndham Grand Hotel, where our cast and crew resided, making it possible for us to reach all our shooting locations within approximately 45 minutes to an hour. This arrangement ensured everyone had pleasant working days and minimized long travel times,” Maloney explains. He further praises, “The base offered us a vast dance floor and a wealth of diverse locations and landscapes to discover.” Reflecting on the experience, he states, “It was truly delightful. It ranks among my top shooting experiences.” Given that the producer behind Jimmy McGovern’s “Time,” the hit series “I May Destroy You,” and “Peaky Blinders” Season 3, this is indeed a high compliment.
“Zorro,” (Paramount+, France Télévisions, Le Collectif 64, Bien Sûr Productions, France)
The filming location for “Zorro,” featuring Academy Award winner Jean Dujardin (“The Artist”), as the dual-natured, technocratic Don Diego de la Vega – who later serves as Mayor of 1821 Los Angeles and grapples with chaos brought on by his vigilante alter ego in disguise.
But the question of locations cuts various ways.
Marc Dujardin of production group Collectif 64 shared that they chose to film in Spain promptly due to its stunning natural scenery. Filming exteriors in Spain necessitates shooting interiors too, making it tricky to utilize two separate tax incentive systems. By taking advantage of Spain’s tax rebate for international productions, the eight-episode series could stay entirely European. Additionally, when it comes to natural indoor settings, there is no place closer to ‘Spanish California’ than within Spain itself.
As a movie enthusiast, I managed to locate some striking interiors conveniently in Toledo, which served as the backdrop for the filming of “Zorro.” Specifically, this swashbuckling classic utilized two fincas – rural mansions – one being Los Lavaderos, a 16th-century manor house. Notably, scenes from the 1957 movie “Pride and Passion,” starring Sophia Loren, Cary Grant, and Frank Sinatra, were shot here. For “Zorro,” Los Lavaderos provided the exteriors of Diego’s home as well as the interiors of Don Emmanuel’s villainous abode. The intimate bedroom and dining room scenes within Diego’s residence, along with the casino and castle sequences, were filmed at La Alamedilla – an impressive, colossal modern replica of a 19th-century Mexican hacienda from the outside, yet boasting a unique blend of the old and new on the inside.
In the creation of arid, scrub-desert landscapes, the production team constructed set locations near existing homes in El Chorrillo, Almería – a place previously utilized by Ridley Scott for “Exodus.
The show titled ‘Zorro’ is not commonly produced but is available on Paramount+. It’s broadcast as an eight-episode series across France, the UK, Italy, Germany, and Latin America. However, it will be aired later in France by France Televisions.
According to Dujardin, choosing Spain for filming was ideal due to its stunning deserts. However, the financial aspect posed challenges, as it often does. “There are relatively few crew members in Almería,” says Dujardin, meaning they had to be brought in at a high expense from Madrid. He also mentions that the balance between travel and accommodation costs when filming in the Madrid area versus Almería must be carefully considered.
“Under Paris,” (Netflix, Same Player, Let Me Be)
As a devoted fan, I’m captivated by Spain’s breathtaking vistas, but it’s their burgeoning array of innovative studios that truly piques my interest. Take, for instance, the success story of “Under Paris,” currently the second most-watched non-English film on Netflix with an astounding 102.3 million views. This French monster shark thriller, directed by Xavier Gens and produced by Vincent Roget’s Same Player (responsible for “Mayhem!”), features Academy Award-nominated Bérénice Bejo (“The Artist”).
In Vilvoorde, Belgium, there’s Lites Studios, touted as the world’s most advanced water stage for filming both underwater and on the water surface – but it’s an indoor facility. On the other hand, Alicante’s Ciudad de la Luz, which reopened last year and was used by J.A. Bayona to shoot the awe-inspiring tsunami sequence for “The Impossible” in 2010, boasts one of Europe’s few open-air water tanks. The nearest comparable facility might be found in Malta, according to Vincent Roget of Same Player. Additionally, Spain offers attractive tax incentives for foreign film shoots, he notes.
The movie scenes under Paris were filmed over a span of four weeks inside the city’s water tank, followed by an additional week on the coast near Spain.
Roget mentions that due to hygienic concerns, it’s not possible to shoot scenes in the Seine. To achieve this intricate shot sequence ‘Under Paris’, various shots such as those taken from above boats in the Seine were captured in Paris itself. The dramatic scenes of Lilith attacking boats were filmed at Ciudad de la Luz. As for the underwater swimmer sequences, they were shot at Lites Studios, according to Roget.
city_of_light’s water tank enabled the camera to glide through, much like during soccer games, as described by Roget, while filming “Under Paris”.
The crowd scenes in “Under Paris’” extravaganza finale also used Spanish extras. “Spanish extras are very good, very reactive, know how to shout, very enthusiastic. You can feel it on the screen. It was very exciting,” Roget recalls.
Once more, he spoke very positively about his Spanish line producer, Fernando Victoria de Lecea. “Filming the shark movie, with all its VFX, wasn’t simple at all,” he said. “A highly skilled producer was essential, and Fernando truly excelled.
Roget has now joined the fast-growing list of filmmakers or TV companies who come back to Spain, having returned to shoot a remake of Belgium movie “Hasta la Vista” in Navarre’s Bárdenas badlands. He plans a second movie shoot, a long one, there next summer.
According to Roget, when it comes to shooting in Spain, he simply remarks: “When will the next one begin?
“Weiss & Morales” (Portocabo, Nadcon, ZDF Studios, RTVE)
One significant factor fueling the rise of Nordic Noir was ZDF Studios (previously ZDF Enterprises), which collaborated on two of its key productions, “The Killing” and “The Bridge.” Notably, these series focused on Scandinavian characters. In contrast, with “Weiss & Morales,” ZDF Studios aimed to narrate a tale about Germany and Spain, as Germans frequently share a strong connection with Spain. Susanne Frank, director of drama at ZDF Studios, expressed this during the panel discussion titled “Igniting Global Hits – The Ultimate Audiovisual Hub” at Mipcom in October, which was held under its Spain Country of Honor focus.
In the series, the characters Nina Weiss, a German BKA agent portrayed by Katia Fellin, and Raúl Morales, a Spanish Civil Guard sergee played by Miguel Angel Silvestre, are paired up due to circumstances when a crime takes place within the German community residing in the Canary Islands. This partnership extends both on and off screen as they connect Germans and Spaniards.
Behind the scenes, “Weiss & Morales” is a joint production between Nadcon from Germany, led by Peter Nadermann who previously produced “The Killing” and “The Bridge” under ZDF Enterprises, and Portocabo in Spain, creators of “Hierro,” a groundbreaking crime drama on Movistar Plus+Arte set on the Canary Island named after it. This collaboration is supported by ZDF Studios, the co-production and acquisitions division of German public broadcaster ZDF, as well as RTVE, Spain’s national television network.
Frank mentioned at Mipcom that German audiences have a strong interest in crime dramas, and Spanish crime stories particularly resonate globally. Notably, many Germans live in the Canary Islands, and the islands’ exceptional tax incentives add even more appeal to the show.
In Spain, I’ve found that engaging in the production of shows contributes to the creation of the type of “open-sky” procedurals that today’s audiences crave for. Unlike the initial Danish series “The Killing,” which required two seasons to unravel a single crime, our show “Weiss & Morales” – a reflection of the lighter, more fast-paced crime dramas now preferred – solves a case per episode. Simultaneously, we delve into family dynamics and the concept of success.
The promotional display unveiled at Cannes featured Weiss and Morales in action amidst breathtaking volcanic scenery, with a clear blue sky overhead and the shimmering azure waters of the Atlantic as a backdrop.
Frank mentioned, “Crime seems to thrive in warm weather, and we often produce dark crime dramas. Yet, there’s a need for a change, and now could be an excellent opportunity to introduce some levity, some lighter stories.
In the realm of television production, I’m finding creative ways to produce top-notch shows without breaking the bank. By forming strategic partnerships and leveraging some of Europe’s most attractive incentives, I can secure rights for my domestic market at a significantly reduced cost, all while maintaining the quality of the productions. As Nadermann points out, this approach saves us money without compromising our production standards.
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2024-11-04 19:56