lundi 27 mai 2013

American Movies Industry in China !

American Movies Industry in China ! 

The presence was most keenly observed and I found it rewarding to see our efforts fact that important market. I concentrate here on two important shifts for filmmakers and our country today in China and Finance.
See also the china movie market

The 33rd American Film Market lasted seven days! 

. The leaders of the global film industry gathered in Santa Monica, CA buying, selling, pre-sale and financing of films in all stages of development and production.

The market has attracted more than
  • 7,749 participants 
  • from over 70 countries, 
  • screened 442 films and conferences spoke to a large audience of 
  • more than 700 present each day. 
Opening at the American Film Market held at the Loews Santa Monica Beach Resort October 31 in November 7, 2012 day. Photo courtesy of the AFM. I registered and I went immediately in the beginning of the "Day of Hong Kong," a long series of days of events that highlighted the benefits of co-production in Hong Kong, the gateway to the co- production in China.

I jumped in their seminar on co-production of Hong Kong and the AFM market session of interviews industry in China, Zhou Tiedon, President and CEO, China Film Promotion International and experienced panelists with great perspectives on China, including Tracey Trench, a Harvard graduate who is a consultant for Oriental DreamWorks, joined the new Shanghai studio adventure Jeffrey Katzenberg (Kung Fu Panda and the interests of its effects in China), and supervised and produced a total of thirteen feature films including THE PINK PANTHER, Yours, Mine and Ours, Cheaper by the Dozen and Just Married. She talked about the Chinese question 

"Why Hollywood makes our stories" 

and the importance of partners China looking for partners to internationalize Chinese stories. It highlights opportunities for Westerners to find deals co-production in China, but you have to learn the ropes. Content produced in China is subject to content review and censorship and financial details.

A group member suggested that you do not ask what you can not do in China, but what you can do in China instead. Suffice to say a script can not be too violent, too sexy, too bloody, too political or too religious. Some producers produce two productions in China and dub in the script they want to do for the distribution of the West.

 If you produce films for the Chinese market somewhere else, it is strongly recommended to include Chinese actors from China, many of them speak English. In fact, everyone in Hong Kong speaks English and seems to be the entry point to engage in the movie in China for the crew, equipment, finance, travel and accommodation, and c is more comforting, again because everyone speaks English. Once you are on the mainland that will change.

 It was interesting to learn that the average age of moviegoers in China is 20 to 21 and the ticket price in China is the same as that of the United States, leading to be very expensive in China and only a small segment of the population can not afford to attend once or twice a year. Video on demand on the other side is a thriving market VOD invests in production. This seems to be where their market lies in changing times. There are so many that it is a huge learning curve before entering this market emerging media of this size it is difficult to imagine.

Once again fill East and West on a whole new level. Finance Conference, which brought together leading entrepreneurs, filmmakers, financiers and executives together to explore the state of independent film financing, emerging trends, where the money is and what the future holds.

 Bullish Finance Conference Panel Tom Ortenberg, CEO Open Road Films, Nigel Sinclair, Co-Chairman and CEO, Exclusive Media and Graham Taylor, Head of Global Distribution Group, Finance and William Morris Endeavor. Photo courtesy of the AFM. The facilitator and the panel are people that we all recognize and wish we knew better. Discuss "Current Issues in Film Finance" were moderator John P. Burke, Partner, Akin Gump Strauss Hauer & Feld LLP, panelists Nigel Sinclair, Co-Chairman and CEO, Exclusive Media, Tom Ortenberg, CEO, Open Road Films and Graham Taylor, Head, Global Distribution Group Finance and William Morris Endeavor. 

 The good news evoked by the entire panel is that experts are fundamentally bullish on equity financing and availability yet. Not since 2007, before the economic crisis, investment in shares become so abundant with opportunities for production. Presales is back in fashion and now more than ever desirable that distributors demand to fill their schedules to maximize and appease their customers worldwide.

When Lehman Brothers went bankrupt in 2008, literally all banks have stopped lending. Fifteen months Studios Hollywood is not a single acquisition. Acquisitions are now more robust, banks like the early 90s, but more conservative, and according to P. John Burke, a movie $ 20 to $ 25 million could theoretically reach 60-75% of its pre budget today. Add to that a generous credit England New State Film Tax nets say that about 20 to 22%, the gap, mezzanine, equity requirement becomes much easier to manage at any time I can remember.

Conditions are favorable. deals with studio and network still require relationships. If you do not and you are looking for a studio or rental agreement with someone who does. It will take years to get a film made. (See the ball is in his section of the Court in this case where Gabrielle Savage Dockterman tells how his film clung to selfish red ribbon Hollywood and how his dilemma was actually resolved. You'll never guess.) Above all, there is still all about the script. Amazing material will eventually attract everything you need to get the movie made. There are trends in the handling cost and are traditionally required advance.

 Noguideline Game

 While the lines are blurred and no guideline game, a good script today will attract an actor who can be considered deferred income or even take some of the risk and become an investor or producer of your film with income share of profits. The rules are changing talent. Yes, artists are now more entrepreneurial. Another trend that benefits the industry is that advertising costs are lower due to the use of social media. As digital continues to mature its impact on the production, distribution costs and exposure will be significantly less than the demand for the product will continue to grow exponentially worldwide. via

Here is the great trump Film Finance, investors from all over the world want to get involved and everyone wants to be a content owner, build portfolios - take the portfolio approach. Search and go to the next year!

1 commentaire:

  1. Chinese films accounted for just over 60% of these theatrical receipts, with action and adventure films from local production such as Monster Hunt and Mojin: The Lost Legend and the comedy Lost in Hong Kong appearing among the top five grossing films, alongside US blockbusters such as Fast and Furious 7 and Avengers: Age of Ultron.

    According to Amy Liu, who works for the consultancy firm EntGroup specializing in the analysis of data relating to the film industry, more than 80% of the revenue of the Chinese film industry comes from cinema tickets. In the United States of America, on the other hand, sales of DVDs, broadcast rights and related products make as much money for filmmakers as selling tickets. However, given a double-digit growth rate and a population of around four times that of the United States of America and which remains largely untapped, the film sector in China has considerable growth potential, according to Qiaowei. Shen who teaches marketing at the Wharton School of Business at the University of Pennsylvania. Liu says Chinese filmmakers, like their counterparts around the world, continue to face the problems of counterfeiting, DVD piracy, and illicit streaming media, the future is bright promising. “Until very recently,” she continues, “China has not been able to create brands around films from domestic production, as Hollywood does. We are currently witnessing the emergence of film franchises and brand association agreements with local businesses. ” Chinese filmmakers are starting to take advantage of consumer demand for cinema-related products. Last year, Mtime, the online cinema ticket company headquartered in Beijing, signed an agreement with Wanda, China's largest chain of movie theaters, to open retail stores inside movie theaters to sell licensed merchandise.

    Government policy
    The second story in the history of the film industry in China is about increased government commitment to the creative industries. Andrew White, associate professor of creative industries and digital media at the University of Nottingham in Ningbo, says that a vibrant national film industry is not only a valuable propaganda tool, but also that it can help China on its way. journey towards a post-industrial future. "China wants its cities to be able to compete with London, Tokyo and New York, and it recognizes that it needs strong creative industries to achieve this," he said.