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Showing posts with the label distribution

CASE STUDY: What To Do As A Filmmaker With The PWC "Filmed Entertainment" 2015-2019 Data

In his Art of War, Sun Tzu wisely counseled, "Assess the advantages in taking advice, then structure your forces, accordingly to supplement extraordinary tactics." With that kernel of wisdom in mind, I looked at this year's Pricewaterhouse Coopers Global Entertainment and Media Outlook 2015-2019 and studied their summary of " Filmed Entertainment ." Although I have not read the full report, the summary provides plenty food for thought so I asked myself what would I do with this data as a filmmaker? My answers are below labeled, "The Film Strategy tip." Let me know what you would do with that data. Note, I have not purchased the full report and I am only basing this on the insights they published. But even those short insights are revealing. Growth around the world will boost filmed entertainment revenue.   Global total filmed entertainment revenue will rise at a 4.1% CAGR (Compounded Annual Growth Rate) to 2019, reaching US$104.62bn. Particularl

PRODUCTION TIPS: Just Know that Profit Participation Comes Out of the Producer's Pocket

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I recently wrote an article about why it is a good thing for certain filmmakers making certain films to share the wealth with profit participation instead of deferred compensation. A caveat: that has a limited use. However, I wanted to revisit that idea and clarify what that means for a filmmaker looking to adopt a profit participation strategy to paying their cast and crew. The truth is that while paying your cast and crew with profit participation instead of deferred compensation can lower a producer's and investor's out-of-pocket production and postproduction costs and improve morale/motivation, it has limits. Here's why: A producer makes multiple contracts throughout the life of a film starting with the writer and ending with the distributor. Along the way, she decides to offer back end participation (or net/gross profits or profit participation) to the cast and crew and signs a contract with them promising to do so. When the producer meets with the distributor

CASE STUDIES: The Best 14 End-of-Year Film Industry Lists of 2014

Among the many traditions that befall us throughout the month of December, the end-of-year-lists can not be avoided. Whether we read them or write them, lists are everywhere. Film magazines and blogs partake in that tradition by putting out their best/worst list of films for the year. I have nothing against them, personally, but I wanted to go deeper and probe the news and trends in the film industry for my own list which would be of strategic use to filmmakers and producers. However, my trip to Cuba for the Festival Internacional del Nuevo Cine Latinoamericano and the usual holiday fanfare put to sleep all that. Still, my Catholic guilt insists that I share something with you. Since I did read some really good lists that go beyond the fun but banal topic of what film was the best/worst in 2014, I have compiled them here.  The 14 lists below can either help you understand the industry better, give you a glimpse of where the industry is going, or deepen your love and knowledge for th

PRODUCTION JOURNAL: What It's Like to Sell 3 Films in Sundance

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One of the best ways we learn is through the experience of others.  That is one reason why we read about people in the industry and the things they do.  Producer   Galt Niederhoffer 's account of bringing and selling her 3 films in Sundance is illustrative of what to expect and what to take heed of for aspiring indie filmmakers.   Read it in full  not only for the big and small lessons it contains but for a voyeuristic glimpse into what your life as a producer may be like , for better or worse .  My favorite take-aways were her thoughts on the current and future film market: The media is pushing the through­line that the muted sales and lower prices reported to date at this year's festival are because the films have been just "meh." In my opinion, the more mellow market is a function of several factors:   1. Distributors have learned to hang back and unite — not in a traditional collusive sense, but because they've been burned in the past and now know

PRODUCTION JOURNAL: The Complete List of 2014 Cannes Winners and Sellers (as of 5.25.14)

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The FilmPortal.net announces the list of winners at this year's Cannes : The Jury of this 67 th  Festival de Cannes, presided over by Jane Campion, revealed  this evening the prizes winners during the Awards Ceremony. Lambert Wilson hosted Uma Thurman and Quentin Tarantino on the stage  of the Grand Théâtre Lumière to award the Palme d’or to  Nuri Bilge CEYLAN   for his film  WINTER SLEEP . Sergio Leone’s  Per un pugno di dollari  ( A Fistful of Dollars ) presented  by Quentin Tarantino, was screened at the end of the ceremony. Palme d'or WINTER SLEEP  by Nuri Bilge CEYLAN   Grand Prix LE MERAVIGLIE (The Wonders)  by Alice ROHRWACHER Best Director Award Bennett MILLER for  FOXCATCHER   Jury Prize ex-aequo MOMMY  by Xavier DOLAN ADIEU AU LANGAGE (Goodbye to language)  by Jean-Luc GODARD   Best Screenplay Award Andrey ZVYAGINTSEV and Oleg NEGIN for  LEVIATHAN Best Actress Award Julianne MOORE in  MAPS TO THE STARS  by David CRONENBERG Best Ac

PRODUCTION JOURNAL: Un Certain Regard 2014 with trailers, reviews & sales history (as of 5.23.14)

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UN CERTAIN REGARD 2014 Un Certain Regard 2014 presented in competition 20 films hailing from 23 different countries. Seven of the works were first films. The Opening film was  Party Girl  by Marie Amachoukeli, Claire Burger and Samuel Theis. Under the presidency of Pablo Trapero (director - Argentina), the Jury was comprised of Peter Becker (president of The Criterion Collection - USA), Maria Bonnevie (actress - Norway/Sweden), Géraldine Pailhas (actress - France), Moussa Touré (director - Sénégal).  The Jury was honored and delighted to have been able to view over ten days so many excellent films testifying to the diversity and vitality of filmmaking in the world today. They were also impressed by the vision and originality of the works presented. PRIZE OF UN CERTAIN REGARD FEHÉR ISTEN / WHITE GOD  by Kornél Mundruczó ( trailer ) ( review ) Rights  sold by the Match Factory to multiple territories JURY PRIZE TURIST * / FORCE MAJEURE   by Ruben Östlund  ( traile

PRODUCTION JOURNAL: Midweek Morning Mixer - 2.5.14 (United Artists edition)

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My apologies for the temporary disappearance of the Monday and Midweek Mixers, I have been busy working with clients and developing projects for 2014 that rendered me unable to blog.  Although I love searching for informative and fun stuff to add to the mixers, it's time-consuming so I can only squeeze them in whenever I can.  Still, as busy as I get, I will do my best to continue to do so. And now without further adieu... Today in film history let's remember... 1919  –  Charlie Chaplin ,  Mary Pickford ,  Douglas Fairbanks , and  D.W. Griffith  launch  United Artists . 1933  – the birth of  Jörn Donner , Finnish director and screenwriter 1943 – the birth of  Michael Mann , American director, screenwriter, and producer 1948 – the birth of  Christopher Guest , American actor and director 1948 – the birth of  Errol Morris , American director Taking a cue from the formation of United Artists is a good reminder of the good work that can result when talented filmmak

PRODUCTION JOURNAL: Midweek Morning Mixer - 1.8.14 ("It's-hard-for-black-actors-but-things-change" edition)

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Sometimes it's easy to forget how far we've come because we still have so far to go. Although public outcries forced SNL to hire a black female as a featured player on the show after so many years, opportunities are plentiful for actors of color compared to what it was like in the past.  And the roles are waaaaaaay more dignified.  So as a reminder of how hard it was for black actors who had to accept roles that were beneath them, let's offer a special HBD tip of the hat to... Butterfly McQueen . "She was born on January 8, 1911 in Tampa, Florida, to a stevedore and domestic maid, Thelma McQueen would go on to make cinematic history as one of the few African-American character actors in classic Hollywood. In 1916, her father abandoned the family, leaving her mother and her to travel the East Coast in search of work. She eventually landed in Long Island where she completed her education and learned to dance. She made her stage debut as a part of the Butterfly