b) As a rule the same proportion should be observed as regards the employment of
artistic and technical personnel and the use of technical installations and equipment.
7. Each signatory country should grant the facilities necessary for the movement and temporary
residence of the artistic and technical personnel engaged in the making of a co-production film, and for
the import into or export from either country of the material necessary for the making and showing of
such films (film, equipment, sets, advertising matters, etc.).
8. a) When exhibited and advertised co-production films should carry an express indication
that they are co-productions, such indication should be shown on a title card side-by-side with, but
clearly separate from, the title, and should appear in all commercial publicity and in the showing of
films at artistic and cultural events, especially international festivals.
b) In the event of disagreement between the co-producers, the film concerned should be
presented at international festivals by the producer who has the larger share in the
production and, where the shares are equal, by the producer who nominated the director.
9. a) When a co-production film is exported to a country where film imports are under
quota, it should in principle be counted against the quota of the country of the producer who has the
larger share in it.
b) Where the two co-producers have equal shares, the film should be counted against
the quota of the signatory country having the better facilities for export to the market in
question.
c) In case of doubt, the film should be counted against the quota of the signatory country
to which the director belongs.
d) If either signatory country is entitled to the unlimited export of its own films to the
importing country, co-production films should, as far as possible, benefit from the same
advantage.
10. a) The receipts from the commercial showing of the film in all parts of the world,
including receipts earned on domestic markets, should be divided in strict proportion to contributions,
by a formula to be decided for each case: percentages or geographic distribution of markets, allowing
in the last case for the possible difference in capacity of the signatory countries' markets. A
combination of these different formulas should also be possible.
b) The provisions of paragraph 1 concerning the advantages due to domestically
produced films under the law in force in each signatory country should apply in all cases.
c) The competent authorities in both signatory countries should settle upon whichever of
the formulas referred to in sub-paragraph a) above is to apply.
11. a) The authorities in the signatory countries should follow this guidance if they consider
making films under co-production arrangements between their countries and other countries with
which one of the signatory countries has concluded a co-production agreement.
b) Subject to the same conditions producers from the signatory countries may be
permitted by the authorities in their countries to produce films in collaboration with producers
from non-signatory countries so as to enable these so-called "co-participation" films to
benefit from the same advantages as films made under co-production arrangements.
12. Even after the date fixed for its expiry, a co-production agreement should remain valid for the
apportionment of receipts in respect of co-production films made under an agreement concluded in
accordance with this guidance.
13. a) The authorities of the signatory countries should determine by common accord the
rules of procedure to be followed in the admission of films to the benefit of co-production.