Sweden has no tax incentives, although, as in other Nordic countries, tax breaks are on the film industry’s wish list and lobbying is under way to persuade the government of their economic benefits.

What Sweden does offer international producers is a sophisticated network of national and regional film commissions that do much to reduce costs and facilitate projects.

Ingrid Rudefors of the Stockholm Film Commission and the Sweden Film Commission, which acts as a national umbrella organization for the regional bodies, says “every foreign production that comes to shoot here” can expect “as many economic incentives as we can offer.” That may include “free locations in government-owned buildings, free meetings with all permitting officials to plan your shoot, discounts at hotels, equipment houses and car rentals.”

The two orgs are also very active in equity co-funding of projects.

The Stockholm Commission was closely involved in assisting David Fincher’s “Girl With the Dragon Tattoo” — his English-language version of the first of the Stieg Larsson crime novels, riding the wave of international success stoked by the three Swedish-language movies.

For producers from outside the country hoping to access national film funds from the Swedish Film Institute, a local co-producer is needed, but the regional funds — including major player Film i Vast, based in Trollhattan in western Sweden — have “a more open spectrum of financial possibilities.”

Other regional funds include Filmpool Nord in the north of the country, which has co-produced 50 features and hundreds of documentaries since its founded in 1992, Film i Skane, Filmregion Stockholm-Malardalen.

Around The Country: Three major film studios can be found in the in Stockholm area — including Twentyfourseven, which has five studios in Stockholm and two in Copenhagen, capital of neighboring Denmark — and a fourth an hour’s drive from the city. Filmpool Nord is based in northern Sweden, Ystad Studios are in the south, Gothenburg Studios are in the west and Film i Vast’s studios are in nearby Trollhattan.

Latest Player: Gothenburg Studios, Sweden’s newest facility, acts as an umbrella for around 30 different companies — ranging from equipment rentals and post-production houses to special effects and makeup — on a 107,000 square foot former industrial site with three sound stages housed in an old chemical factory.

Locations: Landscapes and cityscapes range from modern, urban and sophisticated to rural, remote and virtually unchanged for centuries — none of them very far from major communication hubs.

Gear: Several large equipment houses are available for foreign productions. English-speaking crews are the rule, not the exception, and studios such as Twentyfourseven have access to experienced crews in Finland, Denmark and Norway. The key equipment houses include Dagsljus and Ljud och Bild Media, both in Stockholm.

Skillset: Sean Wheelan, British co-founder and ceo of Gothenburg-based production and vfx company Filmgate, says the quality and skills of crew and specialists available in Sweden has been a key a factor in helping the company attract work on some 48 international features in the past five years, including Rowan Joffe’s “Brighton Rock,” James McTeigue’s Edgar Allen Poe tale “The Raven” and Lars von Trier’s “Melancholia.”

The country has a network of designers, CGI pros, and high end post houses such as The Chimney Pot Group – with offices in Stockholm, Oslo, Berlin, Warsaw, Kiev, Dubai and elsewhere; and Stockholm- and Los Angeles-based Stopp

Stockholm Film Commission and Sweden Film Commission
Ingrid Rudefors. ingrid.rudefors@frsm.se
+ 46 70 323 7771
Web: http://www.swedenfilmcommission.com/
Email: info@:swedenfilmcommission.com

The Swedish Film Institute
+ 46 8 665 11 00
Email: registrator@sfi.se

Sweden is fast becoming northern Europe’s top foreign-language remake center. David Fincher’s version of “The Girl With the Dragon Tattoo” is just one of a number of English-language takes on Swedish fare in production, and more