Interview with Roman Russo, founder of GWK Grüner Werkzeugkasten © GmbH / Green Toolkit ©
Since summer 2023, all publicly funded film producers must comply with nationwide ecological standards. They were drawn up by the Federal Government Commissioner for Culture and the Media, the German Federal Film Board, the film funding organizations of the federal states and the Green Shooting working group. The only question is, how can climate and resource protection be implemented in practice on the film set? The “Green Toolbox” tool, for example, developed by sustainability manager and assistant director Roman Russo, offers assistance. He not only has his sights set on the German and Austrian markets. He has also made initial contact with potential customers in Canada. He has been helped by the Federal Ministry of Economics’ SME market development program.
Mr. Russo, could you start by explaining what your “Green Toolbox” software is all about?
Mr. Russo, could you start by explaining what your “Green Toolbox” software is all about?
Russo: With our tool, we want to make a significant contribution to the sustainable transformation of the film industry. This is based in particular on the “Ecological Standards for German Cinema, TV and Online/VoD Productions”, which were published in February 2023 by the Green Shooting Working Group, the Federal Government Commissioner for Culture and the Media and the federal and state funding agencies. This means that we enable a reliable and efficient verification and auditing system for various federal and state subsidies, support the sustainable development of the production environment and ensure the integration of the documentation function into our CO2 calculator. By working with various film productions and using our tools, CO2 emissions are recorded, team members are sensitized and sustainable work is promoted in various trades.
How can we imagine this in concrete terms?
Russo: We offer film production teams a platform where they can find out about climate and environmentally friendly measures on the film set. Above all, however, we offer digital tools that can be individually integrated into the production process. This gives team members a constantly updated overview of their consumption, which in turn leads to a more mindful and reflective use of available resources. Trades and service providers receive information and checklists to support sustainable processes, the procurement and disposal of resources and compliance with standards. As soon as the film work has been completed, a final report documents which “green” measures have been implemented and what effect they have had. One example of this is our digital product carbon footprint accounting, which shows carbon dioxide consumption and savings for each process or trade.
Can you give examples of particularly carbon-intensive trades?
Russo: Each trade faces its own challenges when it comes to recording data and complying with the various guidelines. The biggest one is transportation – both of people and goods. Catering and accommodation also play a major role. Both are not only CO2-intensive, but also resource-intensive.
Environmentally friendly measures often result in additional costs. How do you
do you deal with this?
Russo: We sit down with the production and manufacturing managers during the budget planning phase and calculate the additional costs that could arise as a result of environmental measures. By using the “green toolbox”, we can compare the additional costs with the CO2 savings as early as the pre-calculation stage. Be it through hybrid instead of diesel generators or through cars with electric drives. When it comes to catering, we rely on regional organic products and low-waste purchasing. For overnight stays, we pay attention to green electricity, water-saving measures and waste separation. In principle, we want to help avoid unnecessary processes, routes and products and save resources.
Are the additional costs of climate and environmentally friendly measures taken into account in film funding?
Russo: Unfortunately not so far. In Germany, the broadcasters and in some cases the funding institutions pay up to 5,000 euros for a green consultant. The consultant’s job is to advise production companies on how they can reduce their carbon footprint and implement sustainable measures. So far, so good, but unlike in Austria, for example, all “green” measures on the film set are actually largely subsidized.
You took part in the SME market development program in Canada this year? What was the reason for this?
Russo: The most important reason for participating was and is the size of the Canadian market. I simply see very good opportunities to introduce our “Green Toolbox” there. Participation in the market development program has brought us a good step forward. We were able to make important contacts, including the organizers of the Canadian Oscars and the Green Screen Ontario movement, and present our software tool to an international audience. This has already resulted in the first projects with Canadian partners – even though I wasn’t there myself. I had asked a good friend of mine to fly to Canada in my place. Although he has little experience in the film and television industry, he is brilliant at getting in touch with people. I then joined the Zoom meetings from Germany, presented our tool and agreed the next steps with the people we were talking to. That went very well.
Does that mean the market development program was quite successful for you?
Russo: Yes. I really gained a lot of impressions and experiences and met some great people. The week was pretty well organized. The team from the German-Canadian Chamber of Industry and Commerce had organized a very extensive program for us, even though we hadn’t been very clear in advance about what we actually wanted to do. Although we had applied for the program, we weren’t really sure whether it was really suitable for us. But in the end, it was a great opportunity for a start-up like ours to get to know the market in another country and make contact with the right people.
Status: November 2023
The interview on the website of https://www.kultur-kreativ-wirtschaft.de/KUK/Redaktion/DE/Top-Themen/2023-12-18-roman-russo.html
