Experience Films - in Real-Life - A Handbook on Film Tourism

- A HANDBOOK ON FILM TOURISM

An update with new case studies and content Includes a toolbox with 38 tips on how to work on film tourism in your area

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- A HANDBOOK ON FILM TOURISM

Experience Films - In Real-Life: A Handbook on Film Tourism is published by: Filmby Aarhus (Western Denmark’s regional film and media centre) in collaboration with Central Denmark Tourism Foundation and “VisitNordjylland” (the tourist organisation for North Jutland). The Handbook has been updated under the auspices of the “RETHINK Cultural Tourism” project.

Contributors to updated content: Lene Halmø Terkelsen Manto Seismonaut Tourism

Graphic design: Beneath

Concept and editors: Filmby Aarhus v/ Mette Elmgaard and Sebastian Holmgaard Christophersen Seismonaut Tourism

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INTRODUCTION: EXPERIENCE FILMS - IN REAL-LIFE

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THE VALUE CHAIN MODEL

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PROCESS MODEL

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THE STRONGEST LINK IN THE VALUE CHAIN IS TEAMWORK

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LET THE FILM DO ITS MAGIC

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3 TESTIMONIES FROM THE TOURISM SECTOR

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THE FUTURE FOR FILM TOURISM – SEEN FROM A GLOBAL PERSPECTIVE

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STIEG LARSSON’S STOCKHOLM

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SWEDISH MURDER MYSTERIES WITH TOURIST APPEAL

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JO NESBØ – FROM NORWAY TO THE WHOLE WORLD

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HOW CAN TOURISM HELP THE FILM INDUSTRY?

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3 TESTIMONIES ON FILM TOURISM

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’TAROK’ (CATCH THE DREAM) BOOSTED TOURISM IN SKIVE

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HOW DO WE GET STARTED?

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’A TOUR MUST BE AS GOOD AS A STORY’

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ENGAGEMENT CAN HAPPEN AT DIFFERENT LEVELS

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TOOLBOX

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FILM TOURISM UNDER THE MICROSCOPE

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’DICTE’ OPENS NEW BUSINESS HORIZONS

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AN AUTHENTIC DANISH CHRISTMAS IN NORTH JUTLAND

TABLE OF CONTENT

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Introduction: Experience Films - In Real-Life The credits roll and the lights come on, but the story lives on: in our heads, and in our hearts. Often, we are far from done with the drama or the characters, who enthralled us, as we sat in front of the television or in the cinema. We are ready for more adventure, for new perspectives or the chance to get a bit nearer.

And this is exactly what film tourism has to offer. Film tourism is tourism, which connects us with the location of a film or TV series. Here, we get the opportunity to follow in the wake of heroes and villains and to see, feel or drink in the atmosphere of the very places where they were. We get a chance to enjoy the same view as the actors, to get behind the creation and share our experience and knowledge with other people,, who are equally enthusiastic.

Some people like opera. Others favour football. But practically everyone watches film and TV. That means that film tourism targets an incredibly wide group, both nationally and internationally. Modern tourists crave unique and involving experiences. It is here that the potential of film tourism lies.

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But how do we create film and TV-based tourism? This handbook sets out to tackle this, and other questions. It is primarily written for the tourist and film industries, municipalities, public institutions and for the business sector – in other words, for anyone involved in cultural tourism and destination development, who may be seeking inspiration and practical advice.

There are many examples that demonstrate the fact that film tourism pays off, both in financial terms and in branding value. When tourists are deciding on their next excursion spot, a chance to see behind the scenes of their favourite series may be the decisive factor as to whether they choose Aarhus rather than Stockholm.

There are other parameters, however, where the location

of exciting projects in an area may be profitable. So the handbook provides the reader with insights into the ways, in which the narrative contribution of a film or TV production to the perception of a place and its brand may have a long-term effect.

Which film or TV production would apply to your area? It is a matter of incorporating your projects into the story about the destination, which has already been, or is being created. Perhaps the Danish film series Far til Fire (Eng. “Father of Four”) would be a perfect match for your brand.

Or perhaps it would be more appropriate to work at attracting other productions to your area. For instance, when Skive Municipality chose to collaborate with the team behind the family chronicle, Tarok,

the film’s sub-title, “Seize the dream while you can” perfectly suited the municipality’s image as a centre of entrepreneurship.

It pays to think strategically and, most of all, collaboratively. A single tourist office or campsite cannot possibly undertake such a task on their own. If you want results, you must involve a considerable number of stakeholders. The task requires 100% commitment and continuous development.

The first film tourism handbook was published in 2012.

However, the field is undergoing constant development, so this version includes both new case studies and updated sources of inspiration.

We really hope you enjoy the book!

INTRODUCTION

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

The value chain model All sorts of stakeholders can generate value for themselves and their sector by utilising the spillover effects from a film or TV production: e.g. film tourism. These stakeholders constitute the value chain of film tourism. Every production is different; so are the relevant stakeholders and the interaction between them. Frequently there will be an opportunity to collaborate across the value chain before, during and after a production, for the benefit of all stakeholders and the delight of tourists.

We hope this handbook provides examples of, and inspiration for how relevant stakeholders in the value chain can collaborate in the creation of film tourism. The value chain involved in an effort at film tourism may comprise more stakeholders than those mentioned here. However, in this handbook we will focus on the six stakeholders, who most frequently play a major role. To establish an overview, throughout the handbook we have used a particular colour for each stakeholder to distinguish them according to their relevance.

THE PRESS & MEDIA THE FILM COMMISION THE FILM & TV SECTOR Production companies, TV stations, film institutes and other stakeholders create the universe that is depicted by the relevant film or TV series. They are also the artistic and economic powerhouses within each production.

It’s in this nexus that agreements are reached, or changed, with regard to input from the various stakeholders and the benefits resulting from such partnerships.

THE MUNICIPAL AUTHORITY Can contribute financially and strategically by creating close ties between the relevant production and the local or regional DMOs and film commissions.

The municipal authority is an important stakeholder, particularly when it comes to more large-scale public and commercial film tourism initiatives.

The municipal authority is also often an important catalyst in the creation of opportunities for film tourism.

The commission’s purpose is to attract productions to a particular region or area. Thus, the film commission network functions as a link between the tourism sector and the film and TV sector. In Jutland, the film commission is called the Western Denmark Film and Media Commission.

DESTINATION MANAGEMENT/ TOURIST INFORMATION OFFICE Destination managers (or DMOs – Destination Management Organizations), or the tourist information offices, are the agencies that deal with local tourism in a region or country with a view to increasing tourist numbers.

Destination management works right across the marketing spectrum, as well as business and organisational development. DMOs have very valuable local knowledge concerning commerce, businesses and locations, and they often prove to be the driving force in promoting film tourism.

The press and media can be used as a narrator to tell stories relating to the production, before, during and after filming. In terms of publicity and communication, the media is of course a key player in film tourism.

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY These local stakeholders play a huge role in creating a vibrant and sustainable film tourism industry. This applies both to those who are at the tourism coalface meeting people every day, and those who work behind the scenes.

They possess very important local knowledge and are the key to providing budgetary advantages, once a production opts for their immediate area in preference to somewhere else. One of the paybacks for any agreed discounts or price cuts to attract production crews is a possible increase in tourism.

THE VALUE CHAIN MODEL

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Process Model This model demonstrates how film tourism initiatives begin long before a production crew actually begins filming.

The period when a production is up and running also offers many opportunities for collaboration between the film/TV company and destination management teams. The goal in the follow up period is to retain tourist awareness and interest and create the seeding ground for future film adventures.

Read more on this in the Toolbox on page 18.

Consolidate the teamwork within the working group, and share your knowledge and expertise in the local area Produce film souvenirs

Research film and TV projects Pinpoint and assess exciting incident/story locations

Stage theme events and lectures

Use the film commission to gain rights to a premiere screening Promote the destination using the film or TV series

Set up collaboration initiatives and interaction between the business community and the film or TV company

FILM- OR TV-PRODUCTION

Offer theme/concept holidays

Establish a working group with agreed goals and involving key stakeholders across the value chain

Screen the premiere in your area

Develop a media strategy and plan the collection of useful material and footage during filming

Stage unique events

Make use of your film commission as a resource for creative interaction Create new attractions, and get hold of film props and memorabilia

Produce “behind the scenes� videos and interviews Use social media to create communities that follow the film or TV series

- Use local people both as extras and as tourist guides and assistants Establish guided tours

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PROCESS MODEL

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

The strongest link in the value chain is teamwork A film or TV production can create value and commercial activity amongst a wide range of stakeholders in the relevant area, both prior to and during production, and then after the premiere screening. All these stakeholders are involved in the film’s value chain – not as competitors, but as mutual prerequisites for each other’s success.

Limitless Business Opportunities There are almost no limits to the kind of business and interest groups that can link up with the value chain for a film or TV production. The most obvious examples are companies that provide film production facilities, such as hired equipment, transport, storage, hotels and restaurants and catering firms. But there are many more that can benefit from the value generated by a film production – the only limit is the imagination.

This handbook features a glassblower, a zoological garden, a farm, a wine merchant, a trotting course, a hotel and lots of other examples where a film or TV production has acted as a value catalyst. On top of this may be added numerous

tourist organisations and destination managers who have used the momentum created by the production to generate positive interest, work with spin-off activities and develop new tourism initiatives. The case studies in this handbook show how they did this.

Teamwork Creates the Synergy So as to gain the full benefits of the spin-offs from a film or TV production, a range of stakeholders need to work together and utilize the synergy latent in each other’s activities. The process can be compared with a large machine with many gears that need to fully mesh with each other before it can work to optimum effect.

Setting up a working group, consisting of local key

stakeholders in the whole value chain, is a great way of establishing this form of cooperation.

‘Setting up a working group, consisting of local key stakeholders in the whole value chain, is a great way of establishing this form of cooperation.’

This will often be reps from the municipal authority, the local tourist industry, local companies and attractions, as well as film commission staff in the area where available.

Entrepreneurs and property owners will also frequently be involved.

But this kind of teamwork can continue with great benefit long after the premiere has been screened. The group can work, for example, to develop and coordinate multi-aspect activities, share experiences and gain new inspiration.

Good relationships are created and the foundations laid for handling the next film or TV production.

The working group can, amongst other things, help to ensure fruitful interaction with the production company before and during filming.

THE STRONGEST LINK IN THE VALUE CHAIN IS TEAMWORK

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Let The Film Do Its Magic INTERVIEW WITH JOAKIM LIND

How can films influence destination tourism?

“Film has a supreme ability to create an emotional bond between a place and an audience. You just need to look at Amélie from Montmartre, Berlin Alexanderplatz or Taxi Driver to understand how a film can evoke images and feelings for a particular location.

These images and emotions affect the associations we make, our thoughts and actions.

‘There are no similar cultural phenomena that have had the same significance for Stockholm as Stieg Larsson’s “Millennium” trilogy.’

“Millennium” has, without doubt, boosted tourism to Sweden and Stockholm, but the greater, more long term effect, comes from how Stieg Larsson’s stories have helped to renew and modernise the image of Stockholm and Sweden.

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The potential of films to boost tourism has aroused great interest in destination managers the world over. But not all films have the same potential to attract tourists, even though the same factors appear to be in place.

When considering destination-friendly factors in a film, we need to think beyond film tourism. The tourism effect can be visible within a few years, but the film’s narrative contribution to perceptions of a place can be much greater and long term.”

destination managers and the business community.

The games, publishing, film and music sectors can all work together here and to good effect. For example the TV series “Game of Thrones” is based on a successful series of novels and marketing has diversified to include games, comics and so on. The Icelandic band Sigur Rós has appeared in the series with its own interpretation of a song that’s part of the storyline. The song has also been released as a single.

© Peter Eriksson

Joakim Lind Joakim Lind is an analyst and communications strategist with Cloudberry in Stockholm.

He also researches international marketing and cultural economy at the School of Economics and Business Administration at the Åbo Academy in Finland. Joakim Lind has previously researched

What can destination managers do in order to exploit the film’s potential for strengthening the location as a brand? ”In order to maximise a film’s full potential, it’s an absolute must that different stakeholders are in tune with each other and working as a team.

Today, we see good examples of successful cooperation between the film sector, regional

The new trend towards crossover ventures feeds into the experience industry’s multi-platform and multi-format eco-system, which is used for marketing and commercial channelling of the storylines.

On this journey, where the storyline is expanded, and where the different formats cross-fertilise and bolster each other, multidisciplinary teamwork between the various trade sectors is of decisive importance.”

the macro-economic effect of Henning Mankells ’Wallander’ and Stieg Larsson’s ’Millennium’.

Read more: http://www.cloudberry.se communications agency in Stockholm

LET THE FILM DO ITS MAGIC

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

© VisitDenmark

© Midtjysk Turisme

© VisitNordjylland

Janne Grønkjær Henriksen

Karen Buhl Slæggerup

Sisse Wildt

Head of Marketing, VisitDenmark

Head of Communications, Mid-Jutland Tourism

Head of Sales and Marketing, VisitNordjylland

In recent years, Danish/Nordic films and TV series have made Denmark and Scandinavia world famous – both as types of society and as travel destinations. More than 30 m. international tourists in Europe choose their holiday destination primarily because of what they have seen in a film that was shot in, or was about, the relevant country. VisitDenmark sees great potential in this phenomenon.

Nobody’s saying it always has to be “Lord of the Rings”. Even modest productions can bring success.

VisitNordjylland has been fortunate enough to work with films such as ”My Sisters Kids in Jutland” and some really major productions such as the Christmas “calendar” shows ”Ludvig og Julemanden” and ‘”Tvillingerne og Julemanden”, all of which have generated an increased buzz about North Jutland.

For us, it’s about attracting those international visitors to Denmark. And with this in mind, we’ve begun assessing which films and TV series carry the greatest international potential for Denmark, and also the best collaboration options within the film industry.

For example, along with the local producer, we looked at the French launch of “A Royal Affair”. This was really useful.

We are also in discussions with the regions and destination managers with regard to upping the profile of our internationally attractive tourism products: locations or special experiences and atmospheres, which tourists associate with Danish film productions. We are looking forward to building these partnerships.

For Mid-Jutland Tourism, it’s about grasping the opportunities from all types of production, because regardless of whether the film or TV series becomes a huge hit, there are still business opportunities for destination managers – e.g. during filming. In Skive for example, we’ve worked with “Tarok” and created a link between the film and the area by using locations from the film - amongst other things via guided tours – and we’ve experienced major interest from fans right across the country.

Regardless of the size of the production, focussing on the value chain is the key to ensuring that film tourism proves a success. Here at Mid-Jutland Tourism, we act as strong advocates for inclusive and creative teamwork between the stakeholders. This applies both before, during and post production. Another key element is being clear from the start about the formal basis of team relationships. This prevents misunderstandings and ensures the best start for the collective effort.

3 TESTIMONIES FROM THE TOURISM SECTOR

Where we are concerned, film tourism’s big potential is not just at national level. At the moment, our region is attracting major interest from both Norway and Sweden, as the hit Danish TV series ‘Badehotellet’ is also shown there and has created huge interest in beach hotels in North Jutland. We are seeing a big boost in numbers hitting our campaign homepage, and right now we’re working on linking bookable products to it.

The common thread linking all our projects, and the guarantee that film tourism will work, is teamwork – pure and simple! This means that a rising tourism tide must lift all boats, so that we can obtain maximum synergy. If this is achieved, even the smallest of projects can produce big results.

3 TESTIMONIES FROM THE TOURISM SECTOR

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The future for film tourism – seen from a global perspective Strategy, social media and dedicated fans will have an increasingly dominant role in film tourism says Martin Cuff - one of the world’s leading experts in the field.

BY LENE HALMØ TERKELSEN New Orleans. Honolulu. Australia. London. And of course New York. These are the hottest places to locate film productions right now according to a specialist in this field.

hand its very risky and you have to bring all your equipment with you. Precisely why few take that option,” he says, and then adds in the same breath:

For 20 years, Martin Cuff has acted as consultant for everything from statutory bodies to film tourism hotspots and he doesn’t hesitate when identifying the most sought after destinations.

“And it’s obviously a lot easier to persuade an A List actor that she’ll have to spend 6 months in London rather than, say, Rumania.”

“People want to film in New York because impossible doesn’t exist there. Want to close off a road? Fine, we’ll do that.

But of course you’re talking a lot of money, Cuff continues, explaining that with film crews it’s always a balance between the cost and risk.

“It might be very cheap to film in Somalia. But on the other

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location for the coming Mad Max film “Fury Road”, as a good example. To come off the back of “Fury Road”, a range of tourism and event initiatives are being considered – from hiking tours, big festivals and solar racer competitions.

But the most successful film locations, in terms of film tourism, are the ones that were in on the film from its inception, so

‘But the most successful film locations, in terms of film tourism, are the ones that were in on the film from its inception, so they had ample time to create sustainable tourism products.’

Namibia has succeeded in attracting film productions However, it’s by no means just big cities that can attract major film shoots. Martin Cuff cites Namibia in South West Africa, that will provide the desert

they had ample time to create sustainable tourism products and, at a more mundane level, were able to secure rights on for ex. photo stills, Martin Cuff explains, citing the “The Hobbit”, “Lord of the Rings” and the Disney production “Brave”

© Martin Cuff

as good examples of such proactive film and tourism collaborations.

Social media is important for film tourism Namibia only has a population of just over two million, but with the Mad Max film it will fall under the gaze of a huge audience. Partly due to the film’s megastar, Charlize Theron.

She has six mill. fans on Facebook and, even months before the premiere, more than 350,000 people have ”liked” the film.

In general, social media will have growing importance in tourism, because people are increasingly likely to choose travel destinations according to friends’ recommendations

THE FUTURE FOR FILM TOURISM – SEEN FROM A GLOBAL PERSPECTIVE

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

ACTIVATE THE FANS! Loyal fans are quite happy to a pay a lot of money, travel long distances and even provide practical help for their favourite series or film:

on for ex. Facebook. But it’s crucial to use these tools in the right way, Martin Cuff stresses.

It’s all about creating dialogue to engage consumers and optimising ‘co-creation’.

“You don’t sell anymore, you dialogue. A hotel for ex. doesn’t write: “Come and stay with us. We’ve just painted the rooms red.” Nowadays they have to write: “We’re considering a new paint job for our hotel. What colour do you think we should use?”

In the same way, film fans can be involved in creating future tourist destinations and, generally, there’s enormous potential in mobilising fan bases, Martin Cuff says.

Strategically planned initiatives enjoy the greatest success When the Chinese romantic comedy “Old Cinderella” was shot in Israel, the Israelis used the film’s leading actor as a tourist ambassador back

‘The greatest film tourism successes all made use of strategic planning.’

in China. This is just one of countless examples of the potential inherent in film tourism, Martin Cuff says, who expects this sector to have significantly upped its professional game within ten years.

“The greatest film tourism successes all made use of strategic planning,” he says, mentioning James Bond and Robin Hood as examples of methodically planned operations.

If statutory bodies and funding agencies are to be convinced that film is the way forward, clear strategies and documented benefits need to be put on the table, but this is not always easy, Martin Cuff admits. ”The biggest challenge being that film tourism is very difficult to measure. Am I, for ex., a film tourist, when I watch a film in

2003 and decide to go to the places where it was shot, but wait for ten years to do that?”

Martin Cuff’s advice to the film tourism sector is to clarify their terminology and concepts: What type of tourists are being sought, precisely? What are the actual aims? How will these be achieved? Who are the necessary cooperation partners?

And how will it be subsequently established that the targets have been met?

By means of crowdfunding, director Rob Thomas and actor Christian Bell were able to obtain the required funds to produce a new Veronica Mars film. More than 90,000 put more than 5,000,000 dollars into the project.

When “Star Wars” fans discovered that the whitewashed farmhouse built in the Tunisian desert as Luke Skywalker’s home had fallen to ruins, they took the initiative to restore it and collected money via Facebook.

Special package holidays have been devised for fans of the hit series “House of Cards”, where they can even get to meet actors from the show.

“Only at that point will you seriously be in a position to create sustainable results,” Martin Cuff concludes.

Martin Cuff Martin Cuff specialises in economic development, with a unique focus on the film and media sectors. He works

Read more:

internationally with governments and

www.martincuff.com

their agencies – from Peru, Tanzania and

– Martin Cuff’s official website

Serbia – to help maximise local potential in film and media productions. Martin

www.facebook.com/groups/

Cuff is a leading expert on film tourism

filmtourism/ – Martin Cuff’s film

and is a former managing director of

tourism Facebook site

the Association of Film Commissioners International.

www.omaze.com/experiences/ house-of-cards – “House of Cards” package trips www.kickstarter.com/projects/559914737/the-veronica-mars-movie-project – crowdfunding project to underwrite the new Veronica Mars film www.savelars.com - website for saving Luke Skywalker’s home

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© Ana Raquel S. Hernandes på flickr.com

© Classiks på flickr.com

Case

Stieg Larsson’s Stockholm Stieg Larsson’s “Millennium” trilogy has had gigantic international success, both as a novel and feature film. The “Millennium” trilogy has played a large part in modernising Stockholm’s image as an international “brand”.

A Unique International Success Story Since the publication of the first book in 2005, Stieg Larsson’s “Millennium” trilogy has sold more than 75 m. copies in 60 countries and has remained at the top of the sales charts in most international markets.

The Swedish film trilogy has been seen by at least 300 m. people. Meanwhile the American version of “The Girl with the Dragon Tattoo” helmed

by David Fincher and starring Daniel Craig and Rooney Mara has so far gained an audience of approximately half a billion people.

Stockholm – at the heart of the story Events in “the “Millennium” trilogy are location specific.

The Mikael Blomkvist character

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lives at 1 Bellmansgatan, on Mariaberget, with view across prospect the water to Gamla Stan. Lisbeth Salander lives quite close by, in an apartment on Lundagatan. The coffee bar on Hornsgatan is not only Mikael Blomkvist’s regular haunt but was also Stieg Larsson’s favourite place in real life.

between 2010 and 2012, with a turnover of 8-10,000 tourists per year. Today, demand has slackened but the “Millennium” tours have proved to be a major factor in the revival of guided walks through Stockholm.

FACTS

‘We are still seeing demand from visitors to Stockholm – mainly from foreign tourists.

“Millennium” has become a fixed point that tourists now immediately associate with Stockholm.’

– Sara Claesson, Head of Communications, City Museum, Stockholm

All city walks end at the City Museum where the entourage can view original exhibits from the filming of the trilogy.

All told, the Swedish and American film productions have generated a combined turnover of several hundred millions in the Stockholm region.

A good number of books have been written on Stieg Larsson and the “Millennium” trilogy.

The story has also been retold on the stage and has inspired artists, authors, designers, musicians and filmmakers across the world.

A lift for the whole creative sector

The “Millennium” trilogy helped to build the huge wave of international interest in Scandinavian crime series and detective ‘These city walks are based films that has arisen in recent on a range of themes, where years. The trilogy has also fiction and facts are woven helped the creative community together.’ in Sweden in general and the film industry specifically.

Since 2009, all these authentic references to Stockholm’s cityscape have been used by Stockholm’s City Museum to offer city walks that focus on places that are central to the story. These city walks are based on a range of themes, where fiction and facts are woven together. The demand for city walks was greatest

In 2008, Stockholm’s City Museum held eight city walks. In 2009, the number was up to 222, and in 2010 their popularity peaked at 284 city walks.

Read more: www.stieglarsson.com/millennium-stockholm-map - map of Stieg Larsson’s Stockholm www.visitstockholm.com/en/ See--do/Guides/In-the-footstepsof-Lisbeth-Salander/ - VisitStockholm’s guide to walking in Lisbeth Salander’s footsteps www.stadsmuseet.stockholm.se/ In-English/Guided-tours/Millennium/ - The City Museum’s guided Millennium tours

© Thomas Karlsson

STIEG LARSSON’S STOCKHOLM © Nordisk Film

THE FILM & TV SECTOR

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

Case

Swedish murder mysteries with tourist appeal Camilla Läckbergs first novel, “The Ice Princess”, was published in 2003, then came nine more crime novels, all of which are centred on the author’s own local area, Fjällbacka. In 2011, the books were filmed both as a TV series and feature film, and more film shoots have already been agreed. The 12 episodes that comprise the TV series, “The Fjällbacka Murders” were all shot in the area around Fjällbacka and Tanumshede.

Three years ago, Tanum local

authority, in conjunction with VisitSweden and Swedish Destination Management, launched a joint “Fjällbacka Murders” strategic plan as part of their marketing of the area. The initiative came about after tourists began to request information on the popular crime series.

The work begun by these tourist organisations has borne fruit. The number of day tourists has increased by approximately 3,000 people from 2011 to 2014, and

Case

Jo Nesbø – from Norway to the whole world The Norwegian author Jo Nesbø has gained world renown for his crime novels about detective Harry Hole, which are set in Oslo. Nesbø’s books have sold over 25 m. copies and have been translated into more than 25 languages.

2011 saw filming commence on Jo Nesbø’s novel “Headhunters” and, in the same year, VisitNorway began offering guided Harry Hole tours. The tours lead visitors through the highlights of Harry Hole’s world, but the route also passes some of Oslo’s main tourist attractions.

© Tre Vänner

accommodation hire in the municipal area has increased by 10 %.

‘The number of day tourists has increased by approximately 3,000 people from 2011 to 2014, and accommodation hire in the municipal area has increased by 10 %.’

According to the head of Leisure and Culture, Eva Petterson, this is very much a knock–on effect from Camilla Läckberg’s popularity, both in Sweden and internationally.

The guided tours are offered in English, German and Russian.

And the demand is great. The tours have an average of 20 bookings per week – mostly from abroad. Tourists can come from as far afield as India, Hong Kong and Japan.

© Tre Vänner

Read more: www.enannansida.tanum.se/# - Map of Läckberg’s locations in Tanum www.framsidan.net/2012/07/lackbergeffekt-aret-runt/ - Article on film tourism in Tanum

life in Oslo and Norway, not to mention his massive worldwide popularity.

‘The tours have an average of 20 bookings per week – mostly from abroad.’

Read more:

However, marketing for Oslo doesn’t focus as actively on Nesbø’s world as, for example, is the case with Camilla Läckberg in Fjällbacka. Be that as it may, Nesbø’s stories still help to promote tourism in the city, even if it’s just because of his books’ quirky descriptions of

www.telegraph.co.uk/travel/destinations/europe/norway/9903140/JoNesbos-Oslo-Norway-my-kind-oftown.html - Daily Telegraph article on Jo Nesbø’s Oslo www.economist.com/ node/21561109 - Article from The Economist on film tourism in Scandinavia

SWEDISH MURDER MYSTERIES WITH TOURIST APPEAL & JO NESBØ - FROM NORWAY TO THE WHOLE WORLD

© Harald Groven på flickr.com

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How can tourism help the film industry?

Today, tourism must be viewed as an integral part of many TV or film productions’ eco-system.

Done properly and strategically, it can be of great benefit to the production.

A stronger film experience It was the combination of a growing mass-tourism industry and new American blockbusters in the 1970s and 80s that launched film tourism as a serious phenomenon. Some describe the 1975 monster hit “Jaws” as the film that launched Hollywood productions into their own league, both as icons of popular culture and items of commercial consumption.

It was the combination of a growing mass-tourism industry and new American blockbusters in the 1970s and 80s that launched film tourism as a serious phenomenon. Some describe the 1975 monster hit “Jaws” as the film that launched Hollywood productions into their own league, both as icons of popular culture and items of commercial consumption.

‘ Shooting in unusual locations, whilst working with the local strategic partners can deliver both financial rewards and new artistic possibilities.’

Throughout the 1990s, marketing budgets for international film productions rose drama-

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EXPERIENCE FILMS - IN REAL-LIFE

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tically. Exposure to the public grew massively, ditto the tourists’ wish to “re-experience” the main character’s world or the film’s universe.

In a Danish context, it may be true that it will rarely be big budget shoots that bring in the tourists, but factoring film tourism into the creative mix is still worthwhile for film or TV series producers.

As a rule, any film production will require extensive fundraising amongst both public and private sources. It is here where destination managers can exploit their local contacts and source possible finance avenues. This type of help can make the difference for a producer’s follow-up TV season, or third

film in a series – using the same location of course. And both parties get the benefits.

Film tourism can also lend artistic support by delivering dedicated fans who can “rebound” inspiration to the film’s creators. The hard core within the film’s fan base will typically want more info and therefore seek experiences beyond the actual film. It’s here where film tourism provides an obvious new dimension, as fans can still live emotionally within the narrative by physically “being there”. The fan base can even develop that universe further, to such an extent that the producers can draw on this

The time is ripe – tourists are looking for it, and the strategic players are open to the idea - now it’s just a question of being open to new ways of envisaging the collective film experience; so that it’s no longer restricted to a few hours on the couch at home or in the cinema.

Read more: Book: ’The Experiences of Film Location Tourists’ by Stefan Roesch, 2009, Channel View Publications

inspiration for film 2, or for the prequel.

HOW CAN TOURISM HELP THE FILM INDUSTRY?

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

© Filmby Aarhus

© Jeppe Gudmundsen

© VisitAarhus

Carsten Holst

Nikolaj Arcel

Peer H. Kristensen

director of “Filmby” Aarhus

film director

director of VisitAarhus

“Getting the right location really is one of the most important elements in a film, as it gives the required atmosphere and emotional feel vis-à-vis the story. If, for example, a film is shot in Randers or Aarhus, then clearly this will draw attention to these places. In the same way, my film “A Royal Affair” has brought new life to the castles in which Caroline Mathilde lived. The closer you get to the history, the stronger your experience of the film becomes. So it’s obviously something that can involve the tourism sector.

“There’s no doubt film tourism is a rapidly developing phenomenon, and from the destination management point of view, it can be approached from several different angles. Film tourism as a commercial activity doesn’t just have the potential to create innovative experience initiatives for the average tourist; it also very much relates to film industry tourism.

“Via my previous work as a producer at Zentropa and then as the head of “Filmby” Aarhus, the regional film and media centre for Jutland, I have concrete experience in creating the optimum conditions, so that film projects can be realised. Here at Filmby Aarhus, we’re making efforts to set up cooperation networks between the film industry, tourism sector, business community and the local authorities. Our aim is to make the whole of Jutland more film-friendly and attractive by establishing a strong network around film and the new media.

The destination managers play a really significant role in this network, as they are in a position to support film productions using their local knowledge and anchorage within local industry and tourism stakeholders. A strong network that can attract and support several film productions means more opportunities for film tourism and thereby growth in Jutland.”

It’s expensive to move a film crew to far away locations. So it’s of huge interest if the tourist industry can network with local hotels and other relevant businesses and thereby offer financial savings to film crews, in return for the town or location being clearly shown in the film. Then both parties benefit from it.”

Directing efforts towards getting a film or TV shoot in your own area also has the potential to generate turnover for local businesses like hotels, transport and catering; whilst the simple fact that a film crew is in the area can create new jobs.”

3 TESTIMONIES ON FILM TOURISM 3 TESTIMONIES ON FILM TOURISM

15

Case

‘Tarok’ (Catch the Dream) boosted tourism in Skive

FACTS The film re-established the link between Skive and Tarok in Danish minds. A survey has shown that “Tarok” ranks fourth in those words that Danes associate with Skive.

The film gave Skive nationwide media coverage, amounting to a value of around DKK 9,7 m.

The trotting horse “Tarok” achieved mythic status in the 70’s. Afterwards, the story of ”Denmark’s four legged wonder” disappeared, until a 2013 film version revived the story of Skive’s very own champion horse.

Potential for a joint enterprise When film producer Regner Grasten decided to make a film about Tarok, he knew that the Skive area would make a fantastic backdrop for the film.

Tarok’s own home at Hagenshøj still existed. Tarok’s own box was still there untouched in the same stable. Jørn Laursen, who had sat in the sulky behind Tarok in 150 out of his 165 starts, still lived just across road.

Birgitte Bahat, a consultant for Skive municipal authority, heard about this budding film project and got in touch with producer Regner Grasten right away. Birgitte realised that a film of this calibre could create great openings for the area.

And Regner Grasten knew that effective teamwork with local support points was decisive for

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EXPERIENCE FILMS - IN REAL-LIFE

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Today, Hagenshøj has become a regular tourist destination with a museum, Tarok walking and riding trails, and the sale of souvenirs.

The site has welcomed 4,000 guests and continues to develop new attractions for its many visitors.

‘Birgitte realised that a film of this calibre could create great openings for the area.’ his project: ‘We wanted to capture the atmosphere of the area in our film. But locating the whole shoot in Skive was an expensive option.. Only by establishing a close working relationship with local bodies could we shoot as much in Skive as we actually did.’

– Regner Grasten, film producer

Skive stepped up to the plate Skive town council stumped up a grant of DKK 600,000 for the project. The money was to fund shooting in Skive, and also to screen a national gala premiere in the town. As a kind of quid pro quo, Regner

The new Tarok museum at Hagenshøj, which was built within the original film set is bulging with memorabilia that Ingelise and Jørn Laursen have donated. On top of that, there are lots of original film props, either provided by the film producer or purchased by the municipal authority. And finally, but no less important, there’s a range of Tarok collections given, or hired out, to the museum by private collectors and fans.

Grasten mentioned Skive every time he did an interview about the film.

Regner Grasten inquired about a range of original “locations”, including Hagenshøj where Tarok was born, lived and was buried. The current owners of the farm said yes to filming at the location and entered into an agreement with the council that the film set would remain in place for at least a year after the premiere.

Skive’s Industry and Tourism Centre joined up with the council to aid the project and established links with a range of local tourism stakeholders, partly to reap the benefits from the massive influx of film and media personnel that pertained

Team Barok was devised around the horse Barok, which is Tarok’s “great-grandchild” and in the film plays Tarok as a foal. Barok is frequently brought to Hagenshøj for special events and she has her own box in her great grandfather’s stable. Barok has her own Facebook page, where followers can become nominal joint-owners amongst other things.

during filming, and partly to create new tourism products in the general area as film and horse tourism spin-offs from the momentum generated by the film.

‘As a kind of quid pro quo, Regner Grasten mentioned Skive every time he did an interview about the film.’

’TAROK’ (CATCH THE DREAM) BOOSTED TOURISM IN SKIVE

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

Guaranteed benefits for the Skive area With the “Tarok” film, Skive received massive media coverage, as well business turnover whilst shooting took place, and since then horse tourism in the area has been boosted in the form of horse trails and cooperation agreements between, for ex., Skive Fjord Camping, Skive Trotting Course, Team Barok and Hagenshøj. Lastly, but not least, the people of Skive experienced a memorable period for the town, when the whole of Denmark turned up for the gala premiere with green carpet runners, gala-clad and famous stars and flashing paparazzi.

Read more: www.tarok.skive.dk – Skive Municipal Authority’s “Tarok” website www.facebook.com/tarokskive – Facebook page for Tarok film tourism initiative www.facebook.com/BabyTarok – Facebook page for Tarok’s great-grandchild Barok www.skiveet.dk/visitskive/oplevelser/tarok – Skive Industry and

© Geisnæs

Tourism Centre’s Tarok experiences

BIRGITTE BAHAT, SKIVE MUNICIPAL AUTHORITY

– Things can take off very quickly, so be prepared What’s your experience of working with a film production crew?

was the icing on the cake, and it goes without saying that this gives a local feelgood vibe.”

“It was incredibly positive. It was driven by mutual goodwill all the way through. Of course we had a contract, which stipulated what our input was to be used for, and the recompense for that. But the contract was never looked at and we continually got more back than had been agreed on paper.

For ex., Regner Grasten held the film’s first press conference here in Skive, where he presented the actors to the world.

So the whole Danish press corps had to come up country if they wanted to get the story in the can. There was nothing about this in the contract – it

What was the key thing that meant you could use the film for good publicity and tourism?

“The decisive thing was obtaining loads of material from the film whilst it was being shot.

We shot our own videos and got hold of props whilst they were recording. This proved really important further down the road. Sure tourists are interested in Tarok’s story, but they are also really interested in the film about Tarok. They really love going behind the scenes.”

Were there things that took you by surprise?

“Recording the film shoots was very time consuming and it’s vital that you are well prepared. When a film crew hears “action”, then it really means action. It’s right now this second and not tomorrow.

So it’s all hands on deck and get your material while you can. Overall, it took far longer than I expected but it was all worth it.”

Do you have any useful tips for others preparing to work with film or TV production crews?

“Make sure you are clear about what you want to record

or keep from their filming. Do want to take photos whilst they are shooting? Do you want behind the scenes stuff? Do you want the rights to short clips from the film for an app or experience events? Make sure that this is agreed with the producer, and remember to plan the logistics for obtaining this material.

I would also recommend using the Western Denmark Film and Media Commission for creative interaction and use this handbook on film tourism. We used it a lot when we were setting up the “Tarok” project and it was a real help.”

‘Overall, it took far longer than I expected but it was all worth it.’

© Petit

17

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EXPERIENCE FILMS - IN REAL-LIFE

THE FILM & TV SECTOR

INTRODUCTION TO THE TOOLBOX

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

INSPIRATION LINKS - READ EVEN MORE ABOUT FILM TOURISM www.film-tourism.com – Stefan Roesch’s own website about film tourism www.thelocationguide.com – A free online database with some of the world’s best locations

How do we get started?

www.filmturist.dk – FilmFyn’s own website about film tourism www.mixedreality.info – Ystad’s annual conference on film tourism and virtual worlds www.filmbyaarhus.dk/wdfc – The Film and Media Commission for Western Denmark Book: ’Wallanderland – medieturisme og skandinavisk tv-krimi’ af Anne Marit Waade, 2013, Aalborg University Publishers

The following pages contain our Toolbox with 38 specific bits of advice and suggestions as to how to begin film tourism initiatives. Anyone seeking to work in this the area will find the mixture of overall theory and practical tips useful.

Film tourism begins long before the premiere is screened.

It’s important to factor in the tourism element both before, during and after a film or TV production’s presence in your area. It’s for this reason that the Toolbox is divided into the steps to be taken in the above three phases of a film’s creation. Each step is marked with a colour that matches the value chain model on page

5. The aim is to provide a quick overview of the relevant stakeholders in their individual contexts.

Some of the steps belong to all three phases, but for our purposes are placed where they are most important. Move things around, prioritise, and arrange the process to suit your strategy. The point is that there is no single recipe for

success in film tourism. Needs, and what works, will differ from location to location. Be inspired by the tips in our Toolbox and consider different ideas.

One main rule of thumb does however apply: Be bold but flexible. If you wish to clearly demonstrate the film-friendliness of your area , it’s a must to invite the relevant film/TV makers, and location mana-

gers, to the area and convince them, not only that with you they are getting a highly suitable situation, but also the goodwill and resources for the creation of exciting projects.

And get in early! Otherwise the production will end up somewhere else.

Happy networking!

19

© Jette Schwartz

‘A tour must be as good as a story’ Before we delve into the Toolbox, we’d like to present a good example of a specific film tourism product in Denmark. Lise-Lotte Frederiksen has, namely, enjoyed great success with her guided tours, where she has led her audience through the Copenhagen of “The Killing”, “The Bridge” and “The Castle”.

BY LENE HALMØ TERKELSEN

Find an enthusiastic and eloquent guide. Some sturdy footwear. A route that has no great distances between stops. And an audience that really wants to see and hear more about their favourite film or TV series. The formula for good guided tours sounds simple. But mastering the art of entrancing a moving audience requires not just a fondness for walking and subject expertise - as Lise-Lotte Frederiksen explains at “Peter and Ping”, which specialises in city walks.

There’s much more to it. The tour has to be built up, so that audience curiosity drives them onwards.

“A tour must be as good as a story. There has to be progression. The tour audience needs to feel that something is going to be revealed - so they get ah ah! moments along the way.

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EXPERIENCE FILMS - IN REAL-LIFE

THE FILM & TV SECTOR

The guide must also avoid setting off the fireworks too early,” Lise-Lotte explains..

In the last ten years, she has pounded the pavements, pronouncing on literature, film and TV series, and her package is popular with both Danish and international tourists. She has brought many interested visitors to Copenhagen Police HQ, which they’ve seen in “The Killing”, and also to “The Castle” of Birgitte Nyborg fame. The experienced guide underlines that this popular tour mixes recognisable scenes with more surprising places.

‘The tour has to be built up, so that audience curiosity drives them onwards.’

“It’s about having one or two locations on the tour they would never have found them-

selves, so they really feel like they’re getting a glimpse into something quite different and special. It might be just that you get someone to open a secret room, or they are brought to a backyard that’s off the beaten track and mysterious.”

THE GOOD GUIDE Knows everything about and lives for his/her material

Ensures a narrative thread and progression in the story

Intros cliff-hangers like: ”But how could it be, in fact, that …? Well we’re going to find out when we get to …”

Think big scenes and memorable incidents The good guide thinks visually and identifies the most attractive sights and buildings.

Engages with the group and adapts the story to precisely what they know and expect

THE GOOD TOUR

“I put a lot of stress on making the locations stand out for people, so we arrive at just the right angle. You have to think big scenes and memorable incidents and remind the audience about that particular part in the film or series where the characters were exactly HERE, Lise-Lotte explains.

Involves no more than 20-25 participants, so the guide can engage with everyone

Has 10-12 stops and usually lasts an hour and a half

Can be extended or cut short depending on the weather

Does not have long distances between stops

Another important point is that it must never become just another boring tour for you. The audience picks this up and switches off immediately.

“You have to keep the tour fresh the whole time. Maybe you can inject a new element, or change the order of the stops,” Lise-Lotte says.

Her own operation has linked up with a hotel to offer tours, and she stresses the opportunities for working with other tourism stakeholders; for ex., by offering tours as part of an overall package.

‘The idea is to make the participants feel it’s “their” tour.’

Includes 1-2 places participants never would have found themselves

Can be arranged as a planned tour with bookings, or as an open tour where people just turn up.

Tailor the tour to the audience Guided tours are so well suited to the modern tourist precisely because of the potential for tailoring the narrative to a specific audience and thereby offering a unique product.

Are we talking total nerds that know every tiny detail about the series and its universe? Or slightly less engaged film fans that just want to go behind the

A TOUR MUST BE AS GOOD AS A STORY

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

scenes? Or is it a stag party that just wants an entertaining tour? Different audiences want their own special kick and it’s for this reason that Lise-Lotte warns against having too many people on a tour. Participants are then better able to ask questions or make comments en route.

A few months back, one of Lise-Lotte Frederiksen’s guides decided to specialise in film and TV productions and created Nordic Noir Tours. The company advertises via social media, and Lise-Lotte knows other guides who only publicise themselves via Facebook and Twitter.

“The idea is to make the participants feel it’s “their” tour. It must never become a conveyor belt.. A good tour is made by all the people on it.”

“They might for ex. ask a tour group for permission to take a picture at a certain place and post that on, say, Facebook.”

The possibilities are endless, but succeeding at guided tours is dependent on one thing more than anything else Lise-Lotte says: a passionate guide.

“If you’re going to bring people into ”The Castle”, you’d better be nuts about the series and absolutely love talking about it.”

‘If you’re going to bring people into ”The Castle”, you’d better be nuts about the series and absolutely love talking about it.’

Read more: www.peter-og-ping.dk – Peter and Pings website www.nordicnoirtours.com – Nordic Noir Tours’ website www.walks.com – guided tours in London

Engagement can happen at different levels Not all stakeholders in the value chain will have exactly the same enthusiasm, motivation or resources to get involved in film tourism teamwork. Fortunately, it’s possible to engage with film tourism at several different levels – right from a local citizen’s chance encounter with film tourism to strategic cooperation with a film or TV production at a municipal level.

The engagement model below gives an overview of teamwork and engagement levels that often apply in relation to the presence of a film or TV crew in an area. It’s a guiding framework rather than a complete summary, but it’s useful as an overview of film tourism.

The three lowest levels are informal engagements, or initiatives from stakeholders who don’t necessarily want or need to involve the film/TV producti-

on in their initiative. The three upper levels in the model are formal, strategic engagements

Municipality grants sponsorship to a film or TV production

Sponsor

Strategic coorperation partner level (initiatives with film and TV production)

Value partners Working together on common values

A DMO cooperates strategically with a film or TV production to give easy access to the local area

Suppliers Providing a service to film or TV production or film tourism initiative

Contributor Stakeholder level (own initiatives)

Citizen and stakeholder level

between stakeholders and the film/TV production.

Holding a themed/brand activity in relation to the film or TV series

Local hauliers deliver transport services for film and TV production

A local branch holds a theme evening on film or TV series, where speakers broaden the theme

Ambassadors

Supporting film tourism efforts both commercially/non commercially, for ex. by highligting services that fit theme from the film/TV series

Host Providing welcoming attendance for guests visiting the area in connection with a film or the TV series

A restaurant invents and sells a dish named after the film or TV series and based on the given theme

A local describes his/her experiences as extra when meeting film tourists in the local area

ENGAGEMENT CAN HAPPEN AT DIFFERENT LEVELS

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BEFORE

I N T R O

A C T I O N

Get a head start.

Continuously monitor current activities, especially with respect to which film or TV productions may be in the planning phase. Contact Filmby Aarhus and Mette Elmgaard at melm@aarhus.dk or +45 89 40 48 73 to get a quick overview. www.dfi.dk (click Funding) www.filmbyaarhus.dk

Learn more.

Before commencing your targeted work with film tourism, you should begin by investigating what this will require. In addition to this handbook, there are various alternative opportunities for learning more about film tourism and about how to get started on developing new tourist experiences.

Explore the exciting film locations of your area.

Use the Filmby Aarhus Film Commission platform to promote your unique and exciting film-location potential. This will facilitate the exposure of your area as an element in the easily accessible overview of potential film locations in the Central and North Denmark regions. The location database is available here: www.filmbyaarhus.dk/wdfc.

Establish contact with the people responsible for finding film locations.

The DFI book can be used for identifying location managers – in all of Denmark and within your local areas.

Visit http://www.dfi.dk/Service/English/Films-and-industry/DFI-Bogen-EN.aspx.

Consider organising guided tours for location managers so that they may become aware of the distinctive qualities and atmosphere of your area.

Provide assistance to your location owners.

When a film is shot in your area, it will involve a number of locations. These locations may be private or public properties. Typically, a location owner will invest considerable time and resources to facilitate the shooting. This may require the erection of special sets, the postponement of renovation plans, or that the location be temporarily closed to the public. Altogether, this represents the location owner’s ‘investment’ in the film. Help your local location owners to get an overview of the investment required and, also, to make an agreement with the film producer as to what will be ‘paid back’ to the location owner – typically by way of exposure in the film.

Consider membership in the West Danish Film Fund (Den Vestdanske Filmpulje)

Consider establishing a collaborative relationship between the Destination Management Organisation (DMO) and the municipality with regards to joining the West Danish Film Fund (WDFF). A membership will make your area more film-friendly. Productions that receive funding from the WDFF generate a regional turnover – in average 3.9 times the size of the investment.

Membership in the WDFF ensured that the locations for the shooting of the children’s television series, Ludvig og Julemanden and Tvillingerne og Julemanden, were primarily located in the municipalities of Hjørring and Aalborg. Similarly, WDFF helped to secure the Dicte shooting for Aarhus. Find information about the West Danish Film Fund here: www. filmbyaarhus.dk.

Use video to promote your area.

Video is a forceful and important medium in the communication of film and TV experiences. You should therefore decide how and when you intend to produce video material. You could for example make small video clips of the crew’s working area; video interviews with the team behind the film; and/or interviews with the people living in the area.

Readily offer your assistance with the production of additional material for the eventual release of the film on physical and digital media.

Organise and develop a strategy.

Always be sure to coordinate collaboration and communication with the film production to ensure a good process.

When the crew arrives in the area, it may be a good idea to have a task force comprised of local players who are particularly involved in the film production. They may be location owners with whom the producer has entered into agreement; cultural institutions; the municipality; and/or the local tourist office. The task force’s first important duty is to develop an action strategy. When you have received confirmation that a film or TV production will arrive in your area, and when you – as an area – have decided to invest an amount in securing visibility, the next step will be to lay down a strategy for how you intend to use the production. What are your objectives and who is your target group? When can your efforts be deemed to be a success?

Get hold of a premiere!

If you contribute funding to a film production, one of the negotiable elements is the premiere. The premiere can generate considerable coverage and several things may be structured around the event as such. Use the premiere as a kick-off for the activities you can subsequently link with the film, for example a “Premiere package with hotel and film” followed up by guided tours in the area.

Be of assistance to the film or TV production.

Offer to provide services for the film production such as applying for permits and looking for locations. Also, you should always be prepared to answer questions. Take advantage of the fact that you know your local area better than most producers.

Invite the press.

Propose a collaboration between the production and your local area. Include the film in your media plan and let the press know that the production will soon arrive in your area. Also, consider inviting the press to tour the locations you know will be used in the production – always in collaboration with the producer.

Establish a commercial network.

Establish a commercial network of local businesses in a position to offer discount agreements or other assistance to a production in your area. Such initiatives may contribute to making your area attractive to film productions. You help the production, and the production, in return, promotes your businesses or your municipality, for example via patches on the jackets of the film crew.

Be sure to obtain the rights to the material you will need, before during and after the production.

Even before the production, you should determine the type of material you will need to promote your local area. This could be for example pictures, video or interviews for use on your website or a subsequent guided-tour concept.

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EXPERIENCE FILMS - IN REAL-LIFE

THE FILM & TV SECTOR

TOOLBOX - BEFORE

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

D O N ’ T

F O R G E T

Even at this early stage, you can help yourselves by considering which special features of your area to highlight: - Specific historical events - Specific locations - Specific advantageous conditions you can provide for a film production.

Relevant links for further reading have been listed in connection with a number of articles in this handbook. Consider also seeking further information on your own, and/or contacting persons from the cases you find particularly interesting.

Check whether your area has been represented and, preferably, offer to help keep the information up-to-date in order to ensure that it is always correct.

Find the most professional location managers by studying their CVs on their private websites, or look up the names on IMDB.com.

The balancing of expectations is key. Thus, there must be absolutely clear agreements as to whether the film mentions a given location by name. Frequently a film is a piece of fiction; and so it is of course natural that the scriptwriters use fictive place names. This, however, may result in a loss of exposure for the individual location. Consider inviting the film’s scriptwriters to the locations in question, in order that they can experience them as early in the process as possible.

Membership to the WDFF is not free of charge. But it will help your area become much more film-friendly and, consequently, more attractive to production companies.

Contact manager Carsten Holst (Tel.: +45 8940 4846) if you have questions about WDFF membership.

This will obviously require planning and an explicit agreement with the film production. The appropriate contact person with respect to such permissions will, as a rule, be the producer of the film.

Even if it is not possible for you to produce video in collaboration with the film production, there should still be ample opportunity to create a small video clip for use on your website and on social-media platforms such as Facebook, YouTube and Twitter. You will find a few pieces of good advice here: seismonaut.com/guides/videoguide (in Danish only).

Dealing with the arrival and stay of a professional film crew may be a tall order. Working full steam ahead, the crew is 100% focused on getting their footage in the can.

For the sake of efficient communication, it may be a good idea to appoint one task-force representative to be in charge of the primary communication with the producer.

Even if a film production intends to hold the gala premiere somewhere else, it may still be possible to get hold of a less grand preview to be held in your local area – prior to the official national premiere.

It’s a matter of being proactive and show them what you have to offer.

Think about how you can use your expertise and local knowledge to lend the production a helping hand with media relations. Then, use the drawing power of the film to market your own interests.

The distributor of the film or TV production will have a media strategy which benefits the product in the best possible way. You should therefore always coordinate with them before taking anything to the local press. Present the distributor/producer with proposals for approaches and stories, but never send out anything without their approval.

Be sure to show the local businesses how they can promote themselves in the light of a production. Relevant trades may be anything from the transport sector (car rental, planes and taxi) to builders, DIY stores, local catering, hotels, fitness centres plus the delivery of jackets and clothes for the film crew. In principle, all kinds of funding and sponsorships will be of interest to the production.

It may be difficult to find out who holds the rights to various materials. You should therefore establish right from the start a permanent contact person who can point you in the right direction. Frequently, a production company will not be able to spare the time needed to produce additional material. Therefore, you should first concentrate on obtaining rights to the material they already intend to produce.

Your WDFF membership ensures that favourable arrangements for your area are maintained through contracts between the WDFF and the production company.

23

DURING

I N T R O

A C T I O N

Help with local casting.

Offer to help with the casting. This way, you help the production whilst embedding it in your local area. Offer to provide facilitation and advertising assistance in connection with the casting. Use the communication channels you already have in place – digitally and with regards the local press. Also find out whether a business within your commercial network will provide the necessary space.

Provide insight into the world of the film.

Subject to agreement with the production company, organise guided tours during the shooting. As an appreciative gesture, you could for instance invite your commercial network inside – always providing that the production company will allow the opening up of the production.

Create attention during the shooting of the film.

Use the time during the shooting to build up hype about the future production, as this may have a positive effect on the subsequent film tourism. On an ongoing basis, you may also attract attention by holding press events which present updates on the production status. Or you may persuade the actors to participate in interviews during the shooting where – if possible – they talk about your area and the production.

Organise unique events.

Take advantage of the fact that, for a time, a number of famous and exciting personalities are gathered in your town or region. There are multiple opportunities for creating unique events for tourists but, in particular, for the business trades and politicians as well. You could, for instance, consider the organisation of a VIP fund-raising dinner attended by the stars appearing in the film and perhaps started off by a presentation from the director.

Produce ”behind the scenes” video.

The actual production period presents really excellent opportunities for creating video material which can be used a long time after the premiere of the film or TV production. Therefore, concentrate your efforts here during the production period and include the content in your media strategy. Remember that explicit agreements with the production are crucial.

Get interviews ”in the can”.

Be sure to strike while the iron is hot. If, during a frequently very tight production schedule, the opportunity to interview the actors, producers and/or the director should present itself, then make sure to get the interview on video, as a radio broadcast and in writing all within the same interview round. The code word here is planning!

Adapt the commercial network.

Be sure to balance the needs of the production company with what can be provided by the commercial network.

Should your commercial network be in a position to help with problem-solving in here-and-now production situations, this may lay the groundwork for an even closer collaboration. This will be to your advantage in any future production work carried out by the same people. Personal relations are crucial!

Music for the film?

A more alternative line of approach could be music for the film. Are there any musicians in your community who would be game for entering into an agreement with the production company with regards to the inclusion of their musical compositions in the film – well, this would be good PR for the musician and a fine anecdote to include in your representation of your area.

Think collaboration and exchange

Continuously consider what you can do to help the production in return for material or cooperativeness.

Be on the look-out for special and peculiar film artefacts

In the course of the shooting, you should keep an eye out film artefacts which may subsequently be useful. Børglum Kloster, for instance, bought Father Christmas’ workshop from the series Ludvig og Julemanden. This has provided the local area with a brand new and really popular attraction. Such an investment may prove extremely valuable.

Develop new attractions.

Use the production time to envision new experiences to offer tourists. Set aside half a day to organise a workshop for those of your employees who find the subject exciting. Perhaps you could also involve a few local collaborative partners. Work towards developing ideas for new tours, new products and new attractions.

Do this exercise: What will an interested tourist find when googling your destination and the film title? Will she be met with products/experiences she can pursue further, or with “behind-the-scenes” info?

Consider exposure after the premiere of the film.

Even at this early stage you should think about how to promote your interests via the lifespan of the film or TV production on VOD, DVD, Blu-Ray etc. This may be through embedded video material, printed logos on the cover, or special inserts for physical media that reference you and your partners’ products.

Use new and social media.

Use new and social media platforms in order to reach the individual tourist and the global market quickly. Use Facebook to your advantage by creating a unique page for your work with the production. This provides ongoing opportunities to present your content and interact with tourists.

Communication via social media is by no means a swift and easy task. But you should begin by making a plan for the content you intend to publish on the Internet, for instance, in the course of the film’s production time. This way, you will have a shared understanding and a shared overview.

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EXPERIENCE FILMS - IN REAL-LIFE

THE FILM & TV SECTOR

TOOLBOX - DURING

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

D O N ’ T

F O R G E T

Obviously, the need for local casting will depend entirely on the individual production.

Any guided tours must be specifically agreed upon with the production company to prevent their getting in the way of the shooting. Make your plans well in advance and be realistic as to expectations – the film crew will not have much time to spare once the shooting has started.

Even though the production has not been completed, there will still be lots of news that can be used to attract tourists both during and after the production. Remember to coordinate all press work with the distributor/production company.

Event development is limited only by the imagination. Suggestions for events: Master classes with the participation of the director or the actors; a local cinema’s presentation of previous films made by the director or with participation of the actor(s); guided tours round the set; etc.

Think about material for various purposes. Consider, for instance: Brief video clips for social-media content; video for a collective promotion of your local community; and video for the additional material included in the digital and physical publication of the film or TV series.

You could maybe team up with the local media for the production of your media material. Maybe they can be of assistance if, in return, you help them get access to the production.

Keep an eye out for relevant opportunities presented by new businesses and continually seek opportunities for expanding your area of contact with the local business community, including with businesses that are not classic tourism players. This may also work to your advantage in other contexts.

Music is one of many devices used in film or TV production, so it must be of a certain quality. Hence, you should be sure to seek out collaborations with local experts within the area, for example local music venues, the local press, or institutions for musical education.

The film trade is used to bartering and to making things work. So remember that your services and the attraction value of the production both constitute negotiation currency.

Film tourism is about communicating the narrative of the film and, at the same time, it is about concocting the story’s further progress. It is, however, also a matter of telling the story of the film as such. “This is how the film came into being” experiences constitute an extremely popular element in film tourism.

It might be a good idea to contact your film and media commission for further advice in this connection.

There are many possibilities for new initiatives. For instance, you could consider new kinds of foodstuff and other consumables to be sold against the backdrop of the film, or you could offer ”walk in the footsteps of the leading character” types of city walks or guided tours.

This is another area where the film and media commission will be a good source of advice.

Always find out who is in charge of the general press strategy for the film production. Maybe you can contribute, or become a part of something which will enhance your visibility. It is important to know what is permissible and what is not with respect to the rights holders within the universe of the production.

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I N T R O

A C T I O N

THE PREMIERE!

The premiere is the most important of all the events, especially if it is a film premiere. It is your opportunity to get your local area on the map. If the premiere is held in your area, make an event out of it! And make it into a special occasion by taking advantage of local competences or a particular location – it need not be a cinema! Make it a memorable event by holding a banquet for the film crew, local politicians, the commercial sector and the actors. Design a journalists’ package so that in addition to the banquet and the film, they receive an overnight stay, talks, location visits, and exclusive interviews with local actors – or whatever else naturally presents itself in connection with the film.

You will obviously have to begin negotiations early in order to secure the premiere. But, even if you do not secure the official premiere, you can still organise a remarkable event. For example, Skive organised a major event in connection with the Skive premiere, resulting in nationwide television coverage by the Danish news channel, TV2 News, transmitting live from the town.

Create an online community.

Although you may have had a presence on social media both before and during the production, now is the time when the film or TV series begins to attract the attention of the general public in earnest. Hence, you should be prepared to maintain and cultivate the audience attracted by the production on platforms such as Facebook or Twitter.

Market the destination.

There are many fine opportunities for following in the slipstream generated by the attention focused on a film or TV series. Take advantage of these in order to promote your own initiatives or attractions.

Retain the commercial network.

Retain your film-tourism work by continuing the work in the commercial network. Even though the exciting process before and during the film or TV series production has now been completed, it still makes good sense to work with development within film or TV production. Now is the time to reap the fruits of all the work done so far. Be prepared to act on reactions to the premiere or unexpected demands from tourists or others which may be difficult to foresee.

Continue to think along the lines of new experience concepts.

Continue the work you began before and during the production, namely thinking along the lines of new attractions and experiences for tourists. But you should also be prepared to seize on the response you get from the audience once they have seen the film or the TV series. Their reaction may easily usher in entirely new demands for the experiences you can offer tourists.

AFTER

In the review of the film-tourism initiative pertaining to the Tarok film (pages 16-17), you can find inspiration for creating cohesive offers.

Concept-holiday packages.

Use the news value of the film to offer specific film travels to your area. Such packages can be big or small – the important thing is that you can experiment with your particular strengths within tourism provision whilst shaping the holiday around the experience of reliving the particular aura of the film or TV series.

Organise talks and storytelling.

When the entire production period has come to an end, and the premiere of the film or the series has come and gone, the audience begins to show an interest in knowing how the whole thing came about. Therefore, think along the lines of talks or online storytelling (blog posts, video blogs) to communicate the exciting process you experienced.

Use the soundtrack of the film

Continue to think in terms of events. If you have somehow got a hand in with respect to the soundtrack of the film or TV series, then this may also represent an opportunity for creating an event. Use the artists from the soundtrack and organise a concert in your own local area – or perhaps a show/performance tour of Denmark.

Market and sell film souvenirs.

Souvenirs and small everyday articles that represent the link between the film and the locality constitute yet another opportunity for thinking up new products. Go through the opportunities for developing, making and selling products which may generate business within your local area.

Hand out goodie bags.

Give your guest a souvenir they can take with them. A collection of assorted film merchandise and sponsor gifts may be an impressive gift to present not only to premiere guests, but also to those who purchase a film-related travel package to your area.

Work with the theme of the film.

Use the history or the theme of the film or TV series as your point of departure. If, for instance, a film is set around an historical event rooted in the area, then you could use this as a framework for what you offer tourists.

Think ahead to the next film.

It is important that you retain the experience gained, especially if you have opted to invest considerable resources in film-tourism. Once the process is complete, you should get together and discuss what went well and what was less successful. This way, you are already one step ahead when the next opportunity for working with film-tourism arises.

Remember to share your experiences with the film and media commission as they are your knowledge centre within film tourism.

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EXPERIENCE FILMS - IN REAL-LIFE

THE FILM & TV SECTOR

TOOLBOX - AFTER

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

D O N ’ T

F O R G E T

It is similarly important to make sure that both the actors and the director will be present at the premiere – for this is by no means a matter of course! And at the end of the day, the stars are the ones who attract the press.

The financing of the premiere could come about by entering into sponsorship agreements with the local business community, for instance involving nationwide cinema spots in connection with the premiere.

It’s about establishing a community centred round the film or TV series. In this connection you could, for instance, bring your core competences to the fore, namely your knowledge of the locality in which the production was shot. Against this backdrop, you can give the audience something to gather around.

In this connection, it is important to establish agreements with the production and distribution companies. You could, for instance, try to suggest cooperation with respect to co-advertising.

The experiences gained from your collaboration should not go to waste. Therefore, remember to evaluate them with an eye towards new projects. Even at this early point in time, you should preferably begin to think about how the next film or TV project can be realised.

Use social media platforms for input from the audience itself. Encourage them to talk about the experiences they would like to have within your locality. For instance, you could establish a focus group where, together with the audience, you continue devising new ideas. You could perhaps reward them with tickets to the film.

Use your commercial network to create new holiday packages – if, for instance, you have been collaborating with hitherto unknown business partners, they might bring new dimensions to the package travels. In order to add further authenticity to the experience, you should check out the possibility of using a member of the film crew as your guide. In connection with a bus tour, it is worthwhile to remember that while underway you can show clips from specific locations – always providing that you have secured the rights. Alternatively, you could exhibit props.

This can be anything from your own story, the film crew’s story, or stories linked with the location used in the production.

If you have a local music festival then it obviously makes sense to check out the possibility of a collaboration.

Think along the lines of alternative souvenirs. In the Swedish town, Ystad, they have been tremendously successful with the ’Wallander cake’.

These need not necessarily be expensive to produce. However, anything exclusive will be preferable as this intensifies the experience.

A film theme can unfold in many directions. Select those most compatible with both the film/TV series and your destination’s tourists and brand. Themes to work with: The initial idea (the book, poem, short film, TV series, etc.), the historical perspective (Denmark’s history), local stories, factual historical or fictional persons, genres such as drama, detective films/series, thrillers, or comedy.

This handbook includes several interviews with persons from the tourist trade who have worked with film tourism. You might contact them for a quick discussion about their experiences within this particular field.

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Film tourism under the microscope

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EXPERIENCE FILMS - IN REAL-LIFE

THE FILM & TV SECTOR

For those of you who want to know even more, Stefan Roesch PhD delves even deeper into film tourism and looks at two more interesting cases.

FILM TOURISM UNDER THE MICROSCOPE

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

Professional networks support film tourism

© Simon Jeppesen

SUMMARY OF AN INTERVIEW WITH STEFAN ROESCH - PH.D AND FILM TOURISM CONSULTANT Film tourism as a phenomenon has gained widespread attention in recent years, which is especially due to the rising number of film and TV series that have boosted tourism the world over. Many regional film commissions have long seen the advantages of film tourism and are therefore seeking to set up professional collaboration initiatives involving local and regional tourist organisations.

If film tourism is going to work, it’s vital that a professional network is built to link the relevant stakeholders. It’s via these networks that tourist organisations gain new expertise and awareness of how film tourism can be integrated into marketing work, as well as understanding

the production phases and their impact on cooperation and income possibilities. For ex., it’s very important that destination managers are involved in a production from the get go, so as to fully utilize the opportunities that are there.

This can be done by initiating professional collaboration with the on-site location scouts and main location manager. In this way, the DMO’s marketing coordinator has a better chance of securing rights to film related marketing material. It might even be possible to get a few positive statements from the actors about the location.

Film commissions can help DMOs in setting up a tools store with equipment that may well be needed when the film crew finally arrives in the area.

With professional networks in place, the film commissions

can also give the nod on upcoming film and TV series, that DMOs might want to engage with. TV series are becoming a much more dominant theme within film tourism: This is because TV series generally have a longer shelf life than feature films and often last for a number of seasons. This makes it easier for DMOs and film commissions to establish a much more long term relationship with the production company.

More and more countries and regions have joined in the race to attract film productions by offering substantial tax incentives. In return, the production companies have to provide marketing material that supports film tourism to the relevant destination. Thus, DMOs, governments and film commissions become more

involved in the marketing of a film. They can for ex. get film credits, or after negotiations get names of towns or areas written into the screenplay, which was the case with the film commission in Genova-Liguria, Italy and the 2008 film “Inkheart”.

However all film(tourism) projects are unique and can’t be handled in exactly the same way. So it’s important that a professional network is set up with the regional film commission, the DMOs and regional tourism stakeholders in order to maximize the benefits film shoots can give to film tourism.

Film tourism carries huge potential, but it’s a special kind of set-up that needs to be understood properly and worked at before its fruits can be harvested.

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Case

‘Dicte’ opens new business horizons TV 2’s popular TV crime series about the journalist Dicte is set and shot in Aarhus and its environs. It has given the local film industry a huge lift and created new business opportunities.

The biggest media production in Aarhus - ever The storylines in Elsebeth Egholm’s Dicte books are set in Aarhus, so the city was a natural location choice for the producers at Miso Film for their ”Dicte” TV series. Financial support from Aarhus municipal authority, Central Denmark regional authority and the Western Denmark Film Fund, as a supplement to other financing sources, ensured that both location and studio shooting was done locally. Studio 1 at Filmby Aarhus provided the main scene stages for the series, and, with large numbers of the film crew coming from Jutland based on two half year shooting periods, “Dicte” is the biggest media production Aarhus has ever had. It has placed the city centre stage as a “film town” and has boosted the local environment.

”Approximately 35 film crew from Jutland and 50 runners, assistants for extras and road blocking have been employed on the 2nd Dicte filming season for shorter or longer periods and have been part of a top-drawer film crew.

The production has had an enormous knock-on effect in the local area and everybody – right from the local authority, the tourist organisation and the business community – have gained experience from having to cater for such a large media production and taking advantage of it.”

– Mette Elmgaard, Project Manager, Filmby Aarhus

New opportunities for the business community A range of local businesses also made hay whilst the sun was out. 40 film crew members lived, ate and were driven around the city for 14 months.

The Scandic Aarhus City hotel agreed a deal with the production company on accommodating a large number of actors and crew. Before long, this relationship opened new business horizons for the hotel. Scandic realised that “Dicte” was a great publicity angle: whenever scenes in a hotel lobby had to be shot, the choice became the Scandic Aarhus City, and the hotel then got space on banner advertisements at the football stadium that was the location for a key football scene. The good relationship between hotel and production company has proved to be of benefit to both parties and has laid the groundwork for further cooperation in future productions.

FACTS

The “Dicte” production in Aarhus has also resulted in new tourism initiatives. Via various platforms, tourists can now experience the city through Dicte’s world. The TV series shows Aarhus as a multilayered “mini-metropolis” - big city, but close to forests and beaches, but also giving the viewer glimpses of both its tourist attractions and then the less salubrious parts of town as well. On top of this, comes the publicity for Aarhus both nationally and internationally.

“Dicte” is TV 2’s biggest drama success in years with 1.2 m. Danish viewers per showing and a 4.3 share. So far it has sold to Norway, Sweden, Benelux countries and Germany.

Season 2 has used approximately 80 locations in Aarhus and environs.

Season 2 has used approximately 2,800 local extras during shooting – 720 of these for a large scale football scene at the stadium in Aarhus’s NRGi Park & Arena.

Approximately 86 local film crew were employed on season 2 for shorter or longer periods.

“Dicte” gave Aarhus nationwide media coverage, amounting to a value of around DKK 15 m.

Epinion conducted a “potential” analysis in the Swedish market, which showed the likelihood of Swedish tourists visiting Aarhus was greater amongst those who’d seen “Dicte” than those who hadn’t.

The same analysis showed that awareness of “Dicte” in Sweden was relatively high, but the link between Aarhus and “Dicte” needs strengthening.

Behind the scenes guided tours were a great success.

Read more: www.itunes.apple.com/app/ west-danish-film-walks-filmgui.de/ id626802588?mt=8 – download the “Film Walks” app at the App Store www.visitaarhus.dk/dictes-aarhus – VisitAarhus’s official “Dicte” website www.dicte.tv2.dk – TV 2’s website about the TV series

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EXPERIENCE FILMS - IN REAL-LIFE

‘DICTE’ OPENS NEW BUSINESS HORIZONS © Per Arnesen /TV2

THE FILM & TV SECTOR

THE MUNICIPAL AUTHORITY

DESTINATION/TOURIST OFFICE

THE FILM COMMISSION

© Per Arnesen /TV2 THE PRESS AND MEDIA

TOURISM STAKEHOLDERS & THE BUSINESS COMMUNITY

Case

FACTS

An authentic Danish Christmas in North Jutland

stakeholders became involved and contributed in their own way to the Christmas show value chain.

The Christmas “calendar” show ”Tvillingerne og Julemanden” proved to be a great publicity and tourism platform for Aalborg and North Jutland. This Christmas-time family show with its positive storylines is perfect for the area’s name brand and tourism strategy.

In order to coordinate the initiative and strengthen the interaction between the various stakeholders, a working group was set up with location and North Jutland tourist organisations and Aalborg Municipal authority. The group members were in a position to bring all the strands together and bolster the local benefits via their framework for networking and initiative taking.

A positive tale for all the family TV 2’s popular Christmas show ”Tvillingerne og Julemanden” is a further development of the 2011 ”Ludvig og Julemanden” series. The story is set in North Jutland and features a range of well-known destinations and places as plot markers. The production received, inter alia, support from the Western Denmark Film Fund and Aalborg Municipal Authority.

The idea behind setting and co-financing this Christmas series in Aalborg was both commercial and politico-cultural: a Christmas series generates publicity and increased turnover for local companies and tourism and is, at the same time, itself a cultural product with good and positive storylines for the whole family.

In this way, a Christmas show differs from, say, crime series, which normally have far darker tales unsuited to general family entertainment.

”With this Christmas series, we get a really well made and positive story, which is set right here in our area. At the same time, the format itself offers high levels of publicity.

We are talking about 24 shows and 24 repeats in 24 days – at optimum broadcast times for Danish families. That’s unique.”

– Tina Pedersen, Health and Culture Agency, Aalborg Municipal Authority

Substantial support from local stakeholders Erik Peitersen, a veteran TV fixer, was employed as production manager, and he very quickly contacted a large number of companies and tourism stakeholders who helped to get things to the “Action” stage with great enthusiasm. For example the “Light Stone” for the show was made by local glassblower Anne Flohr, and the stone was placed in the Stone Grotto, guarded by Aalborg Zoo’s polar bears. In this way, a large number of local

‘In order to coordinate the initiative and strengthen the interaction between the various stakeholders, a working group was set up with location and North Jutland tourist organisations and Aalborg Municipal authority.’

The Christmas series was filmed in collaboration with tourism stakeholders from the whole of North Jutland, incl. Klarupgaard Estate, Klithusegaarden, Skallerup Seaside Resort, Thingbæk Chalk Mines, Hirtshals Lighthouse, Aalborg Zoo and Helligånd Cloister in Aalborg.

The Stone Grotto from the Christmas series is now a visitor attraction at Aalborg Zoo. Likewise, visitors to Klarupgaard Estate can explore many of the original film sets used there for the Christmas series.

© Lars Holm

valuable material “on a plate” – such as glass jewellery, polar bears and much, much more.

Read more: www.visitnordjylland.dk/tvillingerne-og-jule-

Mutual value creation ”Tvillingerne og Julemanden” is a good example of how the world of fiction and real life tourism stakeholders can cross-fertilise each other to their significant mutual benefit.

Aalborg Zoo, and the many other locations featured in the Christmas series, have gained immeasurable publicity for their sales target groups. And at the same time, the production company has gained

manden – VisitNordjylland’s website about the Christmas series www.visitaalborg.dk/aalborg/tv2s-julekalender-i-aalborg-tvillingerne-og-julemanden – VisitAalborg’s website about the Christmas series www.aalborgzoo.dk/aktiviteter-(1)/23-12-2013/besoeg-stenens-grotte-fra-tv-2s-julekalender.aspx – visit the Stone Grotto at Aalborg Zoo www.instawebgram.com/i/anneflohrglas – Instagram profile for Anne Flohr Glas

AN AUTHENTIC DANISH CHRISTMAS IN NORTH JUTLAND © Tina Pedersen

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CONTACT INFO

Filmby Aarhus Filmbyen 23, 1 8000 Aarhus C www.filmbyaarhus.dk Contact: Mette Elmgaard melm@aarhus.dk

Keep up to date on film tourism and coming events at: www.filmbyaarhus.dk www.facebook.com/FilmbyAarhus www.mediatourism.info

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