The world-renowned film water tanks at Rinella are up for sale. Malcolm Scerri-Ferrante writes about their key role to the future of the film industry.

The internationally-acclaimed water tanks in Rinella, formerly managed by Mediterranean Film Studios, are up for sale. The property was taken over by the Maltese government 14 months ago following a dispute over unpaid ground rent, which involved a lengthy court case.

The water film facility was built in 1964 when a British special effects wizard, Benjamin ‘Jim’ Hole, experienced difficulties filming out at sea on the Spanish coast when a storm brewed. With another water-based film coming his way, he managed to persuade Malta, then still under British rule, to subsidise a tank built along the island’s coast.

The 1989 film Leviathan was partly shot at the Mediterranean Film Studios, as the facility was previously known.

Hole was to create the world’s first special effects water tank. It also became unique for its natural horizon because it is built against the open skies and sea. This avoids the requirement of painted backgrounds or, in today’s age, green screens.

What began as a facility with one large 300x400-foot tank was later to develop into a second massive tank built in 1979 for Raise the Titanic. Concave-shaped and 36 feet deep, it is ideal for underwater filming.

A third smaller tank was built in 1997 for the award-winning Levis commercial Mermaid. With its glassed camera room and filtration system, this smaller tank is mainly used for closer shots.

Scores of world-renowned film-makers have worked in these tanks including Ridley Scott (White Squall) and Dino De Laurentiis (U-571).Before the massive Titanic tank was built in Mexico’s Baja, Scott publicly described the main tank at Rinella as the “best water facility I know of”. He went on to describe it as almost perfect, if only the tank was facing more east so film-makers could maximise their control and use over the natural light.

Many international commercials have been shot at the Malta Film Studios.

For some years, the new Mexico-based tank robbed Malta from a spate of Hollywood productions such as Pirates of the Caribbean and Pearl Harbour. But the Maltese tanks were quick to regain some dominance over water special effects when the Mexican drug cartel’s violence began to increase in Baja, compelling 20th Century Fox to sell its tank facility in 2007. Both film-makers and insurance companies alike became extremely cautious of filming in the region.

Over the last decades, other tanks have sprung up around the world, most notably a recent one built in the Dominican Republic by the renowned Pinewood Studios Group.

Fortunately, Malta’s facility managed to retain its edge because of its comprehensive special effects and versatile uses and, not least, because of the long experience of its labour force, which spans over half a century in both tank effects and set building. The experience alone soon instilled confidence among international film-makers.

Moreover, the island’s diverse looks often contributed towards the ‘pull factor’ for those productions also seeking locations. Malta has easily doubled for several countries including those in the Middle East, Central Europe, Northern Africa and the Mediterranean.

The tanks generate a minimum of 45-50 per cent of the local filming servicing business

At the Rinella water facility, film-makers will not enjoy comfy seats in a viewing theatre that had once upon a time existed before being discarded two decades ago. Prop and equipment stores were also discarded back then as focus (and investment) was moved to the creation of a failed movie park.

However, one thing film-makers would always be assured of is that of achieving top screen production value from the tanks and their effects. This asset, coupled with excellent set builds – most commonly ships, boats and scaled models – have kept film-makers coming to Malta till this very day.

Skilled craftsmen building scale models of galleons for filming purposes.

Today, the world-famous water facility looks its age, a mature one at that but also one that can do with an injection of investment, a solid business plan and professional management.

Now called Malta Film Studios (and previously Mediterranean Film Studios), producers are often surprised to discover there are no studios or sound stages. Warehouses spread around the island are used as makeshift studios but not without limitations. Moreover, the specialised and unique craftsmanship for the rapid building of ship sets and scaled models is fast decreasing as skills are not being transferred fast enough.

Tank special effects expertise has also decreased as many old-timers have reached retirement age.

When, last year, the government landed itself with this property, the Malta Film Commission assumed a caretaker’s role, not an easy challenge when considering the commission itself was going through a vital and major overhaul and rebranding process after taking over from the previous commissioner. But there is no dispute that no film commission should be running a commercial enterprise.

The government has issued an expression of interest, calling for proposals for the running of the new facility. Rightly so, it is not merely interested in simply the highest bidder. It wants to ensure a solid business plan is in place to preserve the tanks and the industry as a whole since the tanks directly and indirectly generate a minimum of 45-50 per cent of the local film servicing business.

French actor Gérard Depardieu in the 1988 TV mini-series The Count of Monte Cristo, which was partly filmed at the facility.

In monetary terms they create a significant multiplier effect and substantial contribution to the country’s economy. So, for this reason, the government prefers some form of public-private partnership.

The counter-argument is that the past five decades have demonstrated clearly that companies and businesses are better off being run privately than by the government. This is especially the case with the Malta Film Studios because of the very specialised and complex nature of the film industry.

The tanks are far more than a simple piece of real estate.

However, equally important are the terms and conditions by which government assets are handed over to the private sector. Also the progress made with regard to national assets must be monitored.

The government told the press that the concession would be for 10 years. This short term may deter investors with a serious business plan and who wish to take a long-term plunge.

Maintaining a salty water-based facility with all its pumps and machinery, constructing a professional sound stage (a wise requisite of the call), building up a young workforce with proper training and implementing skill transfers from experts and old-timers and turning around a facility into a sustainable and rewarding enterprise will take at least five to seven years before making a profit.

With minimal optimism, the government will be open to negotiation and be flexible on all levels of its call.

Filming underwater is relatively easy at the tanks.

Moreover, a partnership with the government, if that includes subsidies in some form or manner, such as free ground rent and the like, can help soften the ride for serious investors. In the past, lack of subsidies in a volatile industry was a core reason cited by small businessmen for not investing in MFS.

The success of the world-famous water tanks goes hand in hand with the growth of resources and infrastructure in the film servicing industry. This, in turn, relies on smart policymaking.

The government hopes to formulate and implement Malta’s first National Film Policy, announced last March. Such a policy can lead to a sustainable industry and a solid future for film-makers and service providers.

Malcolm Scerri-Ferrante has been working in the international film and television industry for the past 27 years.