Jonathan Olsberg is the chairman of Olsberg-SPI. Olsberg has built an international reputation as a strategic adviser at the highest levels of media, business and government. He brings to each assignment decades of expertise as consultant, finance professional, creative industry executive and film producer. The combination of theoretical and practical understanding of the creative industries means that Olsberg • SPI delivers informed, creative and realistic solutions for our clients.

- What does “SPI” (from Olsberg•SPI) stand for?

SPI stands for Strategy, Planning, and Implementation.

- In which fields does your company specialise? What kind of clients do you have?

Olsberg-SPI was founded in 1992 and specialises in film, television, and digital media. We advise public and private sector clients from all over the world, spanning regional authorities, national governments, film institutes, screen agencies, and private companies at any point in the value chain.

- Regarding the several reports you have done about cinema and television, what kind of reports do you usually do? Could you give some examples?

SPI’s work is very broad, covering all aspects of film, television, and digital media. Recently, for example, it has included business planning for studios, design and analysis of production incentives, and evaluations of production funds and their impacts. Not all of our work is made public, although some projects are in the public domain. In 2015 this has included an analysis of the economic contributions made by the UK’s tax relief sectors and a report on screen tourism for Creative England in associated with VisitEngland, which was launched in Westminster. Most recently, we presented a project on maximising screen tourism in Barcelona at AFCI’s Cineposium conference.

- What is the focus for SPI’s current Barcelona study? What factors are important in the study?

This project, that is being undertaken for the Institut de Cultura de Barcelona and the Barcelona Film Commission, looks at how the city can maximise screen tourism. The study will involve analysing existing evidence of screen tourism and will assess how this opportunity could be used strategically. This is particularly relevant given current discussions around tourism sustainability in Barcelona. Certain screen products have clearly had a screen tourism effect in Barcelona. Further maximisation could be achieved in a number of ways – for example, through closer working between production, tourism, and other agencies in Barcelona. Astrategic approach is important since screen tourism offers an opportunity to attract high value tourists and encourage them to explore different parts of the city, outside the busy tourist centre.

- In general, what is your advice for improving the quality of tourism at film locations?

Filming locations can undertake a number of initiatives in order to increase screen tourism. Discoverability is key – some locations do not ‘play’ themselves on screen, so finding ways of informing potential tourists can be important. Social media can play a useful role here. Locations should also consider their offer for screen tourists: are they giving visitors the right information, at the right time? This can be done through trails, maps and so on – but such information should be easy for tourists to access, including digitally.

- Do you think that nowadays people tend to choose their touristic destinations because of the films that have been produced there? 

Yes – we have collected clear evidence of this in our work. Screen exposure can be a very powerful showcase for a destination, and a real driver of tourism. Core screen tourists will travel to a place solely because of a screen link, while for others it may act as more of a contributing factoralongside other reasons for visiting. SPI’s work in valuing film and television tourism has focused on these core screen tourists.

DIRECT LINK TO THE STUDY.