The DRÖM series

The series DRÖM has finally had it’s premiere on SVT and it’s really nice to see the hard work being up on screens around Scandinavia. The two part series was shot in Gotland, Sweden during the summer of 2018. Dröm is produced by SVT and Palladium Fiction.

During the filming we had some pictures taken which you can see below.

Emanuel Kielin Adam Gutniak and Ylvali Rurling.jpg
bramme hammarström dröm serien.jpg
palladium fiction dröm serien.jpg
drömserien svt daniel bramme.jpg
marten eckerstrom drömserien svt.jpg
bramme daniel dröm svt.jpg
drömserien svt bramme.jpg

Watch DRÖM here:

Some press about the series here: ELLE, EXPRESSEN, HELAGOTLAND, SVD, MovieZine

Developing and investing in Intangible assets

Nowadays we see many examples of how IPs (intangible assets; simplified, assets that can not be "touched") increase in value and how you, as the owner, can manage, buy and sell different types of IPs. A clear example that we all encounter next to every day is movies and books that often change owners and develop into other products. We have also seen how mobile games like Angry Birds can evolve into movies, books, etc. Many who are not familiar with the industry of movies, books and games, or who have not been particularly involved in intellectual property, might not know that the rights of every movie and ideas, like books and games, are owned by someone. As in the case of many films today, companies or individuals often own the rights to these and the value of the brand or idea can be sold or in other ways earn money. This can be valuable, especially if you have an idea or intangible asset that is unique, popular or may have sold well in the past or as another product.

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why focus on IP?

One of the most common reasons why you choose to make movies of a game or book is almost exclusively for economic gain. Many times you see a greater value in expanding an IP's market than writing a new book or developing the next game. A new product under the same IP will often reach a new audience or otherwise exploit it's already established customer base to boost its revenue from an already existing product. One example is the books you make a movie of, the book sells the movie but the movie also sells the book to those who did not read it. Another strong advantage of intangible assets is that you can collaborate with companies in other industries to take their IP into a new market without having to invest resources in development and production costs of a new product. A clear example is Angry Birds whose owner made stuffed animals to further capitalize on Angry Birds and the movie they released during the same period.

A brand can therefore be incredibly valuable. Look at Star Wars who Disney owns or why not Swedish examples such as, "The man called Ove" or "Men who hate women. A perfect example on an IP is Valerian, a movie I wrote about some time ago. The horizon has become much broader and today you can see opportunities where you would not otherwise think that a brand or IP could fit, much thanks to great successes like the ones above. This has in turn increased the understanding and importance of protecting intangible assets. You should never underestimate the value of your intangible assets and take a day or two to figure out how to protect and use them to your advantage. I am convinced that we will see a greater willingness in expanding and protecting IPs in the future and that can only be good.

For more information in Sweden, please visit: Patent- och registreringsverket

For more information in the U.S, please visit: USPTO

And as always, thanks for visiting.

Koenigsegg Agera RS

I spent a couple of days in California with my friend Niklas Lilja who is the driver and record holder of the fastest driver of a production car, Koenigsegg Agera RS. This is the Koenigsegg Agera RS "Thor" at the OC Festival of Speed at Auto Club Speedway in Fontana, California. In the video you’ll join the passenger in two casual laps. This was an event to benefit Special Olympics Southern California which provides year-round sports training and competition opportunities to children and adults with intellectual disabilities.

The car was close to hitting 200mph at the end of the straight. A pretty remarkable machine don’t you think?

You can buy one here.

Below are a few pictures. I should post more often but don’t find the time. Anywas, here are a few and for more frequent updates, be sure to follow me on Instagram - @danielbramme.

Koenigsegg Agera RS Niklas Lilja Freeway.jpg
Koenigsegg Agera RS Daniel Bramme Bungalow Santa Monica.jpg
Koenigsegg Agera RS Venice Beach.jpg
Palm tree Cali.jpg
Porsche green.jpg
Pagani cars Daniel Bramme.jpg
Koenigsegg Daniel Bramme Cali.jpg
Koenigsegg Niklas Lilja driver.jpg

four Videos to watch

Quick post today.

Once in a while someone creates quite impressive videos or timelapses, here are four nice ones. I don't usually post videos but these are a tiny bit different and deserves a few more views. Perfect if you have a couple of minutes to kill.

Tiny Drone Muscle Beach - Los Angeles

Panorama | LA - 10K

Timelapse - Los Angeles

Flying at night

Thanks for visiting and have a great Wednesday.

The assembly bill 1839 - Status report

The economy and the Film & TV industry in California had a big win in January 2015 when bill 1839 was enacted. In this report I'm going to explain the bill and present an overview to see how and if the economy have changed since the start of 2015. The California Film commission released an extensive report a month ago; I've been reading it to see what can be presented here as a way of explaining the positive sides of how the industry was affected after it was approved. In the longer perspective we (I) hope Sweden will approve a tax rebate for foreign productions filmed in Sweden, my opinion is that we, Sweden, lose qualified productions and with that income which is extremely valuable to the community and industry.

Click here for my first post about Bill 1839 and click here for the post when Bill 1839 was approved.


The Bill

So what is bill 1839 all about? AB 1839 is designed to increase funding and eligibility for California’s Film & Television Tax Credit Program to make the state more competitive in attracting and retaining projects. During the years productions moved to other states because of their of tax incentives. Bill 1839 is an expanded tax credit program that means more jobs and an increase in tax revenue for state and local governments. For example, a tax rebate or credit is many times the reason to why countries attract foreign productions and sometimes companies. If handled correctly, this can be a successful strategy.

The first-generation tax credit program 1.0 retained the targeted projects, those who where most susceptible to runaway production. Program 1.0 generated roughly $4.5 billion of additional spending on film production in the State of California, this became the first film tax credit program. The Program 1.0 could only help a small fraction of the productions that wanted to film in California. The state continued to experience losses of big-budget feature films and TV dramas due to the high demand and to compete even more effectively on a global scale, state lawmakers and Governor Brown created the expanded Program 2.0. This program tripled Program 1.0 funding and added parts to attract additional types of projects.



Have the bill changed anything? Well, during year 2015-16, approximately $230 million in tax credits were allocated to 55 film and television projects. Based on the budgets submitted by applicants, these projects are estimated to expend $1.5 billion in direct in-state spending, including $600 million in qualified wages, a note here; Qualified wages do not include wages paid to actors, writers, producers, directors, or other “above the-line” workers, as these salaries do not qualify for credits.

After its first year, the results are encouraging as six TV series have relocated to California. All of these series had received tax credits in the state where they originated, that is definitely a win for the economy and industry in California. These six series are on track to spend more than $328 million collectively in state. Most series film multiple seasons, if this is the case, then their spending impact will be even more significant.

The changes reported by unions and employee organisations:

  • After one year, key entertainment industry labor organizations reported increased levels of employment. An analysis of hours worked by members of California’s below-the-line unions shows a 12.45% increase for the first quarter of 2016 compared to the same period in year 2015.
  • Employment data from SAG-AFTRA showed background actors working in scripted film and television in California increased to around 19.7% from the first quarter of 2015 compared to the same quarter in 2016.
  • Teamsters reported that members are working at “full employment” for the first time since 2007 and non-member workers are being hired “off permit.”
  • IATSE Local 44 has seen a 4.9% growth in membership for the first quarter of 2016 compared to the same period in 2015. The organization hasn’t experienced membership growth this substantial since the 1990s.
  • The non-profit film office, Film L.A., reported a 9.7% increase in on-location feature film production in the Greater Los Angeles region compared to the same period in 2015 and the film office credited the state’s tax credit program for the growth. Film L.A. also reported in their recent Pilot production study that in 2015, approximately half of L.A.’s TV Drama production was incentive-driven.

It might be early to say but it is encouraging to see the positive numbers and hopefully they will increase even more during the years. I will come back to this later, let's cross our fingers that Sweden gets the memo.

Continue reading here If you would like to see an update I wrote in 2018.

As always, thank you for visiting and join the newsletter if you want more of these updates.