It is important to take into account your experience and the ability to take charge of international co-productions before embarking on a large ambitious project. Start small if this is your first engagement. Depending on the size of the co-production project, there may be more than one contract. A complex project could, for example, require separate contracts for the development of performance and rehearsals, future tours, workshops and related activities. Sometimes, in co-productions, producers can agree on different credits for each area, which gives more importance to the producer in each region. This is not recommended, however, as it increases costs and adds another level of discussion about the amount of credit used in which area. Of course, there will be a number of unforeseen elements for any ambitious co-production process. Due to the cost of cinema, many films shot outside the United States are international co-productions. Amélie, for example, plays in France and plays French actors, but many scenes were shot in a German film studio and the post-production was taken over by a German film company.  International co-productions open up new markets for films and television programmes and can increase the production of quality productions through the participation of equities.  Download (Co-Production-Agreement-Television-Series.docx) and use this checklist when negotiating a Co-Production Agreement Television Series to help you reach agreement on important issues. Flip this Word document with the details to make it easier to write your agreements. International_Coproduction_and_Touring by Guy Cools (PDF) – contains cases and an example of a co-production contract.
All co-producers should be involved in the development of the funding plan and the production budget. In addition, the agreement should provide for what happens when the project exceeds budget (normally, producers share these overpenses in the same proportions as they share the profits). The agreement should also reflect production costs (if applicable) from each co-producer`s budget. The investment of the moderators` co-production funds is a form of pre-financing of the costs of producing actual services. The budget should be growing or at least equal to the actual costs you would use for the delivery – don`t sell yourself for a co-production agreement. The costs of travel, accommodation, jems related to the presentation of the service are best kept outside the co-production agreement, as this will vary from place to place. This should be part of a separate performance contract. Co-production is a joint venture between two or more different production companies for film production, television production, video game development, etc. In the case of an international co-production, production companies from different countries (usually two to three) work together. In both cases, we are talking about very complex cooperation, where legal issues and communication on agreements require a high level of expertise. Renaud and Litman developed the terms “co-production strategy” and “international co-production.” The first is based on the experience of the United States in the late 1970s and early 1980s, when their film companies minimized foreign admissions, while favouring own production or co-production of films with domestic companies.
The term “international co-production” is used here to emphasize the fact that these U.S. companies have collaborated with foreign companies to meet specific needs.  In Australia, some have suggested that a narrow definition of “local content” has limited Australia`s ability to work with international partners. Julia Hammett-Jamart reflects france`s and Australia`s different approaches to this and argues that a literal definition of Australian culture was “antagonistic to the collaborative nature of film production and in particular international co-production.”    If further work is carried out as part of the co-development process, the agreement will have to