MARKET EDITION AT THE 2013 CANNES FILM FESTIVAL
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MARKET EDITION
AT THE 2013 CANNES FILM FESTIVAL www.movieScopeMag.com
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Announcements BFI backs five films at Cannes
Sargent-Disc at Cannes Sargent-Disc, the leading UK provide of payroll, production accounting and production management software to the entertainment industries, and their affiliate team EP Financial Solutions, will be attending the Cannes Film Festival this year. They are presenting the Creative Strategies for International Film Financing Seminar at the UK Film Centre, from 13.30—14.30 on Saturday May 18. Additionally, experts from both companies are offering one-to-one meetings, including: • J oseph Chianese (left ), EP Financial Solutions, on Accessing Global Production Incentives and Tax Credits
The British Film Institute (BFI) is supporting five films at this year’s Cannes Film Festival. Mark Cousins’ documentary A Story of Children and Film, which looks at the adventures of childhood adventures through 53 films including E.T. and The Red Balloon, will have its World Premiere in the Cannes Classics section. The film was developed and produced with support from the BFI Film Fund and Film4, and is produced by Adam Dawtrey and Mary Bell for BofA Productions. International sales are being handled by Select. Three further films supported through the BFI Film Fund will also premiere at the festival. The Selfish Giant (below), writer/director Clio Barnard’s follow up to The Arbor, will premiere in the Director’s Fortnight, as will Irish director Ruairi Robinson’s debut film, the sci-fi thriller Last Days on Mars. Scottish filmmaker Paul Wright’s debut feature For Those in Peril will premiere in Cannes International Critics’ Week. In addition, Andrew Kötting and Iain Sinclair’s documentary Swandown will screen in France’s Association for the Diffusion of Independent Cinema (ACID) section. www.bfi.org.uk
•L aurence Sargent (right ), Sargent-Disc, on Production Tools and Cashless Production / Movie Magic Academic Partnerships—Production Budgeting and Scheduling •L ara Sargent, Sargent-Disc, on Tax Credit Payroll Compliance • J ohn Hadity, EP Financial Solutions, on Financing Global Production Incentives and Tax Credits To book a place, please email cannes@sargent-disc.com stating the session in which you may be interested, along with your Cannes attendance dates and contact details. www.sargent-disc.com
Cupsogue casts Purgatory Cupsogue Pictures have announced that British stars Stephen Marcus and Serena Lorien (left) have joined the cast of its upcoming fantasy motion picture Welcome to Purgatory. Marcus, who played the roles of Nick the Greek in Guy Ritchie’s Lock, Stock and Two Smoking Barrels, Bouchon in Philip Kaufman’s Quills and Davies in Justin Lin’s Fast & Furious 6, will take on the role of www.moviescopemag.com
Charlie in Welcome to Purgatory. Lorien, who starred in Garbage alongside Michael Madsen and Daryl Hannah, as well as Dante’s Hell Documented and Poe, is to take the role of Nina. The film follows three new arrivals, Willis, Taylor and Danni, as they navigate the Afterlife, helped by trusty Guardian Paul. With the Afterlife in ruins because of a war between Good and Evil, the three must find a way to
make things right before Heaven is ruined and Lucifer reigns supreme for the rest of time. Welcome to Purgatory will be directed by Gene Fallaize, who also co-produces with Tony Cook. Cook co-wrote the film with Marcus Ako. Filming is due to commence at the end of 2013 at Pinewood Studios, with a theatrical release planned in 2014. Further casting announcements to follow. www.cupsoguepictures.com Cannes 2013 |
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Announcements Content manages worldwide sales for He Who Dares Content Film, the film and library sales arm of Content Media Corporation, is to handle worldwide sales for SAS action thriller He Who Dares, directed by Paul Tanter ( The Rise and Fall of a White Collar Holligan, Jack Falls). Sales are to be launched in Cannes 2013. Written by James Crow (G.B.H, The Warning), He Who Dares centres on Britain’s elite Special Air Service (SAS) as they take on a group of ruthless terrorists who have kidnapped the Prime Minister’s daughter. The film, which is currently in post-production, stars Tom Benedict Knight (Kick Ass 2), Simon Phillips (U.F.O, White Collar Hooligan 2), Christina Bellavia (Doctors) and Ewan Ross ( Age of Heroes, The
Fall of the Essex Boys). It is produced by Tanter’s London-based Runaway Features, alongside Anthony Maxwell, Patrick Maxwell and Alain Wildbreger. Content’s Cannes slate also includes Caradog James’ The Machine and Karl Mueller’s Mr Jones, which both recently premiered at the 2013 Tribeca Film Festival; Anthony Leonardi III’s Nothing Left to Fear, starring Anne Heche; Kieran Parker’s Outpost III: Rise of the Spetsnaz; Sean McNamara’s Space Warriors, starring Danny Glover and Mira Sorvino; Sebastián Silva’s Crystal Fairy, starring Michael Cera and Stacie Passon’s Concussion, which both premiered at Sundance 2013. www.contentmediacorp.com
Locarno selects projects for Open Doors 2013 Twelve projects have been selected for the 2013 Locarno International Film Festival’s Open Doors co-production lab, which is this year dedicated to the South Caucasus—the border region between Asia and Europe—with a particular focus on Armenia, Azerbaijan and Georgia. Each of the selected directors and producers will present their projects at Locarno, with the aim of finding financial partners to enable them to complete their film. The selected projects are: Abysm by Oksana Mirzoyan (Armenia); House of Others by Rusudan Glurjidze (Georgia/ France); Khibula by George Ovashvili (Georgia/France/Germany); Long Gardens by Nika Shek and Sarik Hovsepyan (Armenia/Azerbaijan); Madona by Nino Gogua (Georgia); Naked in Baku by Arzu Gulijeva (Azerbaijan/Estonia); Pipeline by Asif Rustamov (Azerbaijan/Germany); See You In Chechnya by Alexander
Kvatashidze (Georgia/France/Estonia/ Netherlands); Sleeping Lessons by Rusudan Pirveli (Georgia); Territoria by Nora Martirosyan (Armenia/Switzerland/ France); The Second Journey by Lévon Minasian (Armenia); and The Valley by Arsen Azatyan and Nariné Mkrtchyan (Armenia). For the first time, this year’s Open Doors co-production lab participants
will be offered workshops on current issues in independent film production and distribution. At the end of the lab, three awards will be given to the best projects. The 11th edition of Open Doors will take place on 10–13 August, as part of the 66th Locarno International Film Festival, which runs from 7–17 August 2013. www.pardo.ch
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This year’s Cannes Film Festival will feature the world premiere of Thoshio Lee’s comedy short Beauties À La Carte; the first 8K Super Hi-Vision narrative film. Japanese public broadcaster NHK will screen the film on May 16 and 17 at the Hôtel Majestic Barrière, with a gala evening taking place on May 17. Developed by NHK, 8K Super Hi-Vision delivers a resolution that, at 7,680 by 4,320 pixels, is four times the resolution of 4K and 16 times that of HD. It also features 22.2 multichannel sound. “New technology is driving new content,” said Nobuhiro Haneda, NHK’s senior manager in charge of 8K content production. “The production of Beauties À La Carte is part of our efforts to understand the technical challenges of producing drama in this new format. I hope we can work with film industry professionals to further explore the possibilities of using 8K for feature films.” www.nhk.or.jp/english
Park Circus brings restored prints to Cannes
Doha Film Institute to unveil new festival format The Doha Film Institute will launch their new festival format at Cannes 2013, following the end of their successful four-year partnership with Tribeca Enterprises. Speaking about their future plans, DFI CEO Abdulaziz Al-Khater said, “Through the past four editions of the Doha Tribeca Film Festival, which were organised in cultural partnership with Tribeca Enterprises, we achieved our fundamental goals of creating a vibrant grassroots film industry in Qatar. We are thankful to
Cannes to screen first 8K Super Hi-Vis film
them for their invaluable insights that helped elevate the film festival initiative of DFI to a truly global level. “With DFI having successfully formed strong community and industry bonds, the new festival format will build on the passion for filmmaking from talent in the region and around the world. We are defining a new niche for the film festival, which will serve as a platform for strengthening a home–grown film industry as well as continuing to build our
international relationships to promote Qatar as a cultural hub.” www.dohafilminstitute.com
Classic and repertory distributor Park Circus is bringing three newly restored classic films to play in the festival’s Cannes Classics strand. Hal Ashby’s The Last Detail—which saw him nominated for the Palme d’Or and star Jack Nicholson win Best Actor at Cannes in 1974—will screen as a new 4K restoration ahead of its re-release in November 2013. Also given the 4K restoration treatment is silent classic The General, starring Buster Keaton and featuring a score by Carl Davis. And Harold Lloyd’s Safety Last, which this year celebrated its 90th anniversary will be presented as a new restoration from Harold Lloyd Entertainment. www.parkcircus.com www.moviescopemag.com
Announcements Cinema Management Group to sell The Prime Ministers in Cannes Buscemi; animation Saving Santa 3D, with the voices of Martin Freeman and Tim Curry; action thriller A Stranger in Paradise, starring Stuart Townsend; real–life drama Still Mine, starring James Cromwell; animation The Legend of Sarila 3D, with the voices of Christopher Plummer and Rachelle Lefevre; animation Adventures in Zambezia 3D, featuring the voices of Abigail Breslin, Jeff Goldblum and Samuel L Jackson; real life thriller Eden, starring Jamie Chung; and actioner Get Lucky, starring Luke Treadaway. CMG have also acquired international rights (excluding Latin America) to Bruno Barreto’s Reaching for the Moon, which is set in 1950s and ‘60s Brazil and tells of the romance between American Pulitzer Prize-winning poet Elizabeth Bishop and local businessman Lota de Macedo Soares. www.cinemamanagementgroup.com
Photo © AMPAS
California-based Cinema Management Group (CMG) are to handle the international sales of Moriah Films’ The Prime Ministers in Cannes. Featuring the voice talents of Michael Douglas, Christoph Waltz (right), Sandra Bullock and Leonard Nimoy, the two– part film has been adapted from the best–selling book by Ambassador Yehuda Avner by writer/director Richard Trank, and chronicles Israel’s history from 1948 to the present day. In addition to The Prime Ministers, CMG are representing a large slate of films in Cannes: thriller Go For Sisters; drama Reaching For the Moon; Goodnight Marilyn, starring Carey Mulligan and Henry Cavill; horror P5ych, starring Kevin Bacon and Juno Temple; actioner Plastic, starring Will Poulter; animation Khumba 3D, featuring the voices of Liam Neeson, Laurence Fishburne and Steve
Method announce London expansion Leading global VFX house Method Studios have opened a new London facility, having relocated from Soho’s Wardour Street, where they shared space within Deluxe 142, to a purpose– built studio on nearby Meard Street. “We are delighted to have secured the Meard Street location, which meets our growth needs and will deliver greater flexibility and access to a deeper pool of local talent,” commented Drew Jones, VP Method Studios London. “Our aim is to support clients who wish to place their work into the UK market in addition to offering enhanced capabilities to the wider global Method Studios’ client base. We believe that in a challenging market, our boutique and artist driven approach coupled with our ability to
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access Method’s global talent pool is a compelling and creative option for both local and international” As well as London, Method Studios has offices in LA, Vancouver, New York,
Chicago, Detroit, Atlanta, Sydney and Melbourne, enabling large and small projects to be secured and completed across the Method community. A recent project for Warner Bros, for example,
saw Method as the leading VFX house on Cloud Atlas (above), completing over 400 shots across their London, Vancouver and LA offices. www.methodstudios.com
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CRAZY KIND OF LOVE Virginia Madsen, Eva Longoria, Sam Trammell, Anthony LaPaglia, Zach Gilford, Amanda Crew (100 Min - FAMILY/ DRAMA/ ROMANCE)
DARK HEARTS Kyle Schmid, Lucas Till, Rachel Blanchard, Juliet Landau, Goran Visnjic, Sonja Kinski (96 Min - THRILLER)
RUSHLIGHTS Beau Bridges, Josh Henderson, Haley Webb, Aidan Quinn (90 Min - ACTION / CRIME / THRILLER)
THE GRIEF TOURIST Melanie Griffith, Pruitt Taylor Vince, Michael Cudlitz (90 Min - CRIME/ THRILLER)
THE EMPLOYER Malcom McDowell, Billy Zane, Paige Howard, David Dastmalchian (87 Min - THRILLER)
LEAST AMONG SAINTS Martin Papazian, Taylor Kinney, Laura San Giacomo, Charles Dutton, AJ Cook (107 Min - DRAMA)
FOREVERLAND Max Thieriot, Thomas Dekker, Demián Bichir, Sarah Wayne Callies, Juliette Lewis (93 Min - DRAMA)
SOX: THE AMAZING DOG David Deluise, Aidan Potter, Jamison Haase FAMILY/ ADVENTURE, 85 Min, 2013
IT’S SO EASY, AND OTHER LIES (Approx 90 Min - DOCUMENTARY/ PERFORMANCE)
GLASTONBURY: THE MOVIE IN FLASHBACK (90 Min - BEHIND THE SCENES/ PERFORMANCE)
JUSTIN TIMBERLAKE: LIVING IN 20/20 (60 Min - BIOGRAPHY)
PINK: TAKE ME HOME (Approx 60 Min - BIOGRAPHY)
JFK REMEMBERED: 50 YEARS LATER (120 Min - DOCUMENTARY)
SHARKS 3D 3D & HD AVAILABLE (55 Min - NATURE)
INSIDE THE FIFTY SHADES: REAL WOMEN CONFESS (85 Min - SPECIAL INTEREST)
STEVE JOBS: IGENIUS (55 Min - BIOGRAPHY)
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Announcements Rialto strikes distribution deal with StudioCanal New York-based specialist distributor Rialto Pictures has announced that it had acquired all US rights to five first-run films from France’s StudioCanal. The five films, which will be released under the new Rialto Premieres label, include Clement Michel’s romantic comedy The Stroller Strategy (below); Charles Nemes’ Hotel Normandy; and Josiane Balasko’s Demi-Soeur.
For the past year, Rialto has been the US theatrical distributor of StudioCanal’s catalogue of over 2,000 classic titles, such as Grand Illusion, The Third Man and Fellini’s Nights of Cabiria. Rialto is also collaborating with the British Film Institute and Park Circus Films to tour Alfred Hitchcock’s nine surviving silent films under the banner The Hitchcock 9. www.rialtopictures.com
Pinewood Shepperton expands stateside with Pinewood Atlanta UK film studio group Pinewood Shepperton is to continue its international expansion plans by building the Pinewood Atlanta complex on 288 acres of land south of Atlanta, Georgia, USA. The project is a joint venture with American investment company River’s Rock LLC. The announcement follows Pinewood Shepperton’s recent joint venture with Chinese media group Seven Stars, which will see both companies invest an initial $1 million (£655,000) into researching various business proposals, including potential co-productions. Speaking about the move into the USA, Pinewood’s chief executive Ivan Dunleavy described it as “another step forward for the Pinewood brand internationally. The new studio will target US productions. Georgia has excellent fiscal incentives and a great crew base. With River’s Rock, we have a well-resourced partner that is committed to building a first class facility.” 6
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The location of the new studio complex will allow production companies shooting at Pinewood Atlanta access to Georgia’s hugely competitive tax incentives, which were introduced in 2008. Film and television productions can receive a tax credit of between 20 and 30 per cent if they spend $500,000 or more in the state, and a further 10 per cent if they feature the Georgia Peach logo. According to state figures, these incentives have resulted in productions generating more than $3bn in 2012, compared with £244 million five years ago. Construction on Pinewood Atlanta, which will feature multiple sound stages and will attract film, television, music and video game projects, is to begin immediately. It will join existing Pinewood studios in the UK, Canada, Germany and the Dominic Republic, as well as facilities in Malaysia which are due to open later this year. www.pinewoodgroup.com www.moviescopemag.com
Announcements
Cannes celebrates 100 years of Indian cinema This year marks the centenary of Indian cinema, and the Cannes Film Festival is to mark this special occasion by showing the highest number of Bollywood films in the event’s history. The festival will host the premier screening of Bollywood Talkies , an anthology of four short films directed
by Zoya Akhtar, Anurag Kashyap, Dibakar Banerjee and Karan Johar, and Amit Kumar’s Monsoon Shootout will screen in the midnight strand. Ritesh Batra’s Dabba will also be shows as part of Critic’s Week. Joining these filmmakers at the festival will be Bollywood superstar Amitabh Bachchan, who has a role in
opening film The Great Gatsby (above), and Indian actress Vidya Balan who is joining Steven Spielberg, Christoph Waltz, Nicole Kidman, Ang Lee, Naomi Kawase, Daniel Auteuil, Lynne Ramsay and Cristian Mungiu on the Cannes Jury. “It’s an absolute honour to represent India on a global stage,” Balan told Tabloid!
“To have it any year is welcome, but to have it in the 100th year of Indian cinema makes it even more special. I’d hoped my work would take me there, but even to be on the same platform as Steven Spielberg and Nicole Kidman is unbelievable.”
“With some of the music industry’s luminary artists lining up to join Justin in telling Neil’s incredible life story, the film is going to be a wild, music extravaganza that will light up the screen,” said Damon. “And I have a personal interest in bringing Neil’s story to the screen, as I
started my career working with Neil at Casablanca Records and Filmworks.” Damon will be shopping the project to international buyers at Cannes market. Timberlake is also in Cannes for the world premiere of the Coen Brothers’ Inside Lleweyn Davis.
www.festival-cannes.fr
Spinning Gold Launches at Cannes Mark Damon’s production company Foresight Unlimited are unveiling their high-profile Spinning Gold project with a private Cannes party. The biopic of 1970s record executive Neil Bogart, the founder of legendary Casablanca Records, will star Bogart’s
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friend Justin Timberlake in the lead role; the script has been written by Bogart’s son Timothy Scott Bogart, and a director is yet to be announced. The film is due to start shooting in early 2014. RCA Records is partnering on the project, and will release the film’s soundtrack.
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Announcements Greek filmmakers to have presence at Cannes Although no Greek films have been selected for Cannes’ Official Selection, the country will be heavily represented at the festival as the special guest in Regions Capitales pour le cinema. Olivier–René Veillon of Île de Franc is co-ordinating the event, together with Demosthenes Davvetas, the Cultural Affairs Councillor of the Greek Prime Minister’s office. The Greek Film Center is also giving its backing, along with GFC president George Papalios and general director Gregory Karantinakis. Nine young Greek producers will be in attendance at Cannes to promote their projects and to meet with foreign producers and financiers. They are: Yorgos Tsourgiannis (1901 ); Amanda Livanou (Park ); Giorgos Karnavas and Konstantinos Kontovrakis (Hungry Mouth, Ivo and Sofia); Maria Hatzakou (Duncharon); Kostas Kefalas (For Ever); Alexandra Bousiou (Receptions, Golden Day); Maria Drandaki ( A Blast, Stage Fright ); Maria Tsigka ( Virus).
Versatile Films to launch slate in Cannes Pape Boye and Violane Pichon’s Paris-based Versatile Films, which launched in Berlin, will unfurl its first slate in Cannes. The company has acquired Taisia Igumentseva’s comedy Bite the Dust, which sees the residents of a Russian backwater hold an end–of–the–world party before a solar flare wipes out mankind, and Adolfo Alix Jr’s World War II drama Death March (above), which re-enacts the infamous Baatan Death March in which around 10,000 Philippine and
American soldiers perished en route to a Japanese prison camp. Both films will premiere in Cannes; Bite the Dust in Official Selection—guaranteed after Igumentseva won the top prize in the Cannes Cinefondation competition for student shorts in 2012 with The Road—and Death March in Un Certain Regard. Versatile is aiming to handle around 12 films a year, made up of new talent and established auteur directors. www.versatilefilms.com
QED names John Friedberg EVP of International Sales John Friedberg, the new EVP of International Sales at QED, together with CEO International Bill Block, will attend Cannes with an extensive slate that includes outstanding key territories on David Ayer’s WWII thriller Fury, starring Brad Pitt and Shia LaBeouf; a second Ayer film, Ten, which stars Arnold Schwarzenegger; John Turturro’s Fading Gigolo starring Woody Allen; Zac Efron star vehicle Are We Officially Dating?; and supernatural thriller Haunt. “John has been a vital part of QED’s recent growth and success” said Block. “We remain committed to delivering an exceptional slate of commercial films to our international partners, and I’m delighted to have John leading those efforts with me at Cannes.” www.qedintl.com
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Announcements Dutch celebrate Borgman in Main Competition
Omar acquired by Pretty Pictures Ahead of its premiere in Un Certain Regard, Hany Abu-Assad’s Omar has been acquired by French distributor Pretty Pictures. The film tells of three Palestinian childhood friends who are torn apart as they fight for freedom. Abu-Assad previously won a Golden Globe and was Oscar-nominated for
his 2005 film Paradise Now, about the final days of a suicide bomber. “Omar shows great dramatic progression with a very surprising ending,” said Pretty Pictures president James Velais, who negotiated the deal with The Match Factory head of sales Brigitte Suárez. “It’s a beautiful portrait
of Palestine and the country’s combat for freedom. It’s wonderful to see such talent coming out of the Middle East.” Last year, Pretty Pictures successfully released Saudi director Haifaa Al Mansou’rs Wadjda in France. www.prettypictures.fr
James Franco to direct Millennium Films’ Garden of Last Days James Franco, who is attending Cannes to support the Un Certain Regard screening of As I Lay Dying—which he wrote, directed and stars in—has chosen his next directorial project; an adaptation of Garden of Last Days , by House of Sand and Fog author Andre Dubus III, to be financed by Millennium Films. The thriller tells three interwoven stories; a stripper who brings her young daughter to work, an angry man who gets thrown out of the club; and a rich foreigner about to commit a terrifying act. Although the novel is set around 9/11, the adaptation will see it move to present day New York. Filming begins in the city in July.
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Garden of Last Days is being produced by Gerard Butler, Alan Siegel, Danielle Robinson, Hanna Weg—who
Filmmaker Alex van Warmerdam’s Borgman is the first Dutch film to be selected to play in main competition at Cannes for 38 years. Written and directed by van Warmerdam, the thriller follows the sinister central character Camiel Borgman (Jan Bijvoet) and the impact he has on a suburban family. It is produced by Marc van Warmerdam of Dutch production house Graniet Film, with financial support from the Netherlands Film Fund, CoBO, the Flemish Audivisual Fund (VAF) and the Danish Film Institute (DFI). It has also received support from Dutch broadcaster NTR, Angel Film (Denmark) and Epidemic (Belgium), as well as Eurimages, the co– production fund of the Council of Europe. Borgman is being released in Dutch cinemas in autumn 2013 by Cineart, and Fortissimo Film Sales are handling all international sales. www.filmfonds.nl
also wrote the script—and longtime Franco collaborators Vince Jolivette and Miles Levy. www.millenniumfilms.com
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Congratulates Triggerfish Animation on producing the highest-grossing South African film in the last 30 years! Thanks all its distributors who made Zambezia fly high!
ADS Service, All Media Company, Asian-A, Associated Euromedia, Big Picture 2 Films, Blitz Film, Bloomage, Blue Pictures, Cinematografica Blancica, Cine Colombia, Distribution Company, Entertainment One Benelux, FilmHouse, Front Row Filmed Ent., Global TV, Hollywood Classic Ent., IPA Asia Pacific, ITV, Kino Swiat, Metropolitan Filmexport, Moviemax Media Group, Nu Metro Films, Outsider Films, Paris Filmes, Pasatiempo Pictures, PictureWorks, Praesens Film, Scanbox Ent., Sena, Sony Pictures Worldwide Acq Group, Splendid Film, Star Films, Suraya Filem, Ukrainian Rights Mgmt Group, Videocine, Videx Int’l
Wishes the best Int’l success to Khumba!
ADS Service, Asian-A, Associated Euromedia, Blitz Film, Captive Entertainment, Cinematografica Blancica, Entertainment One Benelux, FilmHouse, Front Row Filmed Ent., Hollywood Classic Ent., Imagem Filmes, Kino Swiat, Luxor Ent., Metropolitan Filmexport, Millennium Films, Mono Film, Outsider Films, Programs4Media, Star Films, Tandem Film, Telepool Gmbh, Videx Int’l, Woo Sung Ent. Final territories available: UK Italy Spain Scandinavia Greece Taiwan Hong Kong Singapore Malaysia Philippines India Mexico Central America Australia/New Zealand Japan.
Final territories available: Japan Hong Kong Taiwan Philippines
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Agatha Altarovici Head of Marketing
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Daniel Bort
Sales Executive
Company Profile
IndustryWorks Based in Vancouver, Canada, IndustryWorks is a fully integrated company that distributes and produces feature films, television and new media content worldwide.
Dedicated to releasing unique and marketable films that appeal to both mainstream and niche audiences, IndustryWorks has several in–house projects in development on an ongoing basis, as well as unique films acquired from external sources, and an extensive library of archive titles. Film and TV products are distributed to thousands of international buyers in 40 countries, as well as film networks including Anchor Bay, Sony Pictures, the Weinstein Company, XLrator Media, Lionsgate Films and Universal Pictures. Additionally, IndustryWorks provides a theatrical platform in Canada for select films. IndustryWorks has recently enjoyed huge international success with the award–winning horror American Mary, produced by Evan Tylor and John Curtis. The film, which stars Katharine Isabelle as a broke medical student who ventures into the messy world of underground surgeries, has played to packed crowds at international festivals, and has picked up a multitude of awards at Screamfest, Toronto After Dark Film Festival, Fantastic Fest and Shudderfest. American Mary was a film that the Soska Sisters had wanted to make for a long time, but had had no luck in finding support for the project. IndustryWorks had just placed their debut film, Dead Hooker in a Trunk , with 14
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IndustryWorks has recently enjoyed huge international success with the award– winning horror American Mary
Above: Katharine Isabelle in the award-winning horror American Mary by the Soska Sisters.
IFC and Monster, and therefore understood the sisters’ vision and believed in the passion they had for the project. “It was something we felt we had to take the risk on,” says producer and IndustryWorks COO John Curtis. “The script was controversial and compelling, and it transposed to the screen extremely well.” Knowing that the film deserved a big, bold look, IndustryWorks created a cohesive, toptier environment for the film’s production, despite the humble budget. When the film wrapped, it returned to the IndustryWorks post-production offices where the Soska Sisters had direct access to editor Bruce MacKinnon and the entire marketing team. And while the original directors’ cut was two hours and forty minutes long, the IndustryWorks team were able to help guide the sisters and create a commercial, 90–minute film while retaining the essence of the original creative vision. In addition to its successful festival run, American Mary has also enjoyed theatrical and home entertainment releases in multiple territories, thanks to distribution deals with companies such as Universal, Monster Pictures, Anchor Bay and XLrator Media. This is indicative of IndustryWorks’ dedication to creating specifically tailored distribution deals that will benefit each individual release. Following on from the success of American
Mary, IndustryWorks are now working on an ever-growing slate of films. These include the forthcoming follow up to American Mary; Stephen King style horror/thriller Wrecker, which begins shooting in Summer 2013; action–oriented zombie movie Toxin 3D, which is premiering at Cannes 2013; and Chris Witherspoon’s critically acclaimed action horror film Rage, which also makes its debut at Cannes. “I saw the material in American Mary as something unique in the horror genre, which has been saturated with unoriginal content, and took the chance on the unconventional story,” explains IndustryWorks President Evan Tylor. “I also realised, based on the audience response, there is more room for the traditional thriller/horror content— provided writers, directors and producers spend some time on originality whenever possible. We are currently developing new projects to support that demand.” m For more information about IndustryWorks’ slate visit www.industry-works.com. For more information on Wrecker contact John Curtis at jcurtis@industry-works.com Cannes Location: Riviera Booth B3 Contact: Caterina Scrivano, VP Sales & Marketing, cs@industry-works.com www.moviescopemag.com
The National Film & Video Foundation (NFVF) Is a statutory body mandated by parliament to spearhead the development of the South African film industry. The NFVF does this by funding the development and production of South African film content including documentaries, administering the certification process of co-production treaties, funding local film festivals and attendance by our filmmakers to international film festivals and markets and running various training programs for the film industry.
National Film and Video Foundation Tel: +27 11 483 0880 Fax: +27 11 483 0881 info@nfvf.co.za www.nfvf.co.za
Opinion Michael Gubbins
The Invisibility Dilemma Industry analyst Michael Gubbins examines why the growth of digital cinema YOUTUBE LOGO SPECS and on-demand platforms may see independent content disappearing. Put the words ‘crisis’ and ‘film industry’ into Google and you get almost five million returns. The idea of crisis underpins industry discussions at festivals and conferences, though they are now often given an ostensibly positive spin—you don’t sell many tickets reminding the industry which creek they are in and how short they are of paddles. But are we looking at the right crisis? The current film debate is largely about the threats to the industrial structure of film, in terms of investment, finance and revenues. Anyone with a memory longer than the last decade will affirm that ‘crisis’ in that sense is pretty much the default position of the film industry. We are currently nowhere near the rock bottom of the 1980s, when the idea of an existential threat to cinema seemed all too real. And the arrival of VHS and then DVD, which helped resurrect the business, 16
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Pay walls and subscriptions may lead to ever more fragmented demand, with the new and adventurous disappearing.
lest we forget, was vigorously opposed by much of the theatrical business. Back then, the supposed threat was framed by the narrow concerns of sections of the industry, but the real issue then, and now, is what we might call the ‘invisibility dilemma’. Broadly speaking, each innovation brings a choice between increasing access at the main red gradient bottom expense of the existing business model, or PMS and 1815C PMS 1795C protecting existing positions risking C13 M96 Y81 K54 C0 M96 Y90 K2 losing the demand on which new business can be built. Then, the supposed battle was between home entertainment and theatres; today, it is between anytime/anywhere access and physical sales. blackof film and media, whiteFor the big corporates the experience of theBLACK coal mine canaries of WHITE C100 M100aY100 K100 of the music industry has forced change C0 M0 Y0 K0 attitude. From initial angry opposition to all change, the music business response was a
story of retreat, repositioning and eventual acceptance of the once unthinkable, such as the deals with Spotify, YouTube and the iTunes cloud-based Match service. Hollywood has tried to make sure that the same mistakes are not made and, rather
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than burying its head in the sand, has sought to ensure that the new digital economy works to its benefit. The majors have dictated the shape of the new world to a disturbing extent, from the DCI specifications for digital cinema to the VOD platforms they choose to support. Indeed, supported by increasingly sophisticated use of social media and cross–media marketing, the reach to global audiences has become stronger, resulting in ever more gargantuan franchise releases. In 2005, there were 14 films with production budgets above $100m; by 2011, that had risen to 24. The independent industry, however, still has a bad habit of not spotting the oncoming dangers until it has reached the point of crisis. Independent film is more reliant than Hollywood on the shock of the new but there are reasons for concern about how new talent will find audiences, particularly outside the big countries with large internal markets. Film, of course, has never been an easy option for the newcomer. It has been a business characterised by obstacles and ruled by gatekeepers. The cost of filmmaking ensured that it was open to very few, and yet there was at least a degree of social mobility in film and television. People from a range of backgrounds could learn trades and some eventually take leading creative or business roles on merit. (The fact that women in particular were so often excluded says more about social attitudes that still need to be fought than the weaknesses of the theoretical meritocracy of the craft trade.) There were, and remain, hopes of a more democratised business, open to all, and one in which the audience is not simply the
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passive recipient of content profitable enough to distribute or which cultural powers—such as state broadcasters and critics—felt was good for them. The landscape today is, in many ways, more diverse. The cost of entry to filmmaking and the ability to market and distribute films using social media has created the means for film, in its broadest definition, to find audiences. Over recent years, services such as YouTube and IndieFlix have found smart micro payments that have added up to occasionally significant sums. Knowledge of audiences has dramatically increased in the digital age and every filmmaker has the potential to speak directly to existing and potential fans. So what’s the problem? The music world and publishing both suggest the possibility of a world that remains dominated at one end by corporate giants but in which a new world of microscale production, close to its fans, is increasingly thriving. Around the world, hyper–low–budget work is finding audiences and that may continue to grow with a range of media outlets and social media opportunities, plus support from public bodies and festivals. Most makers of low– budget films, however, do not want to be makers of low–budget films; they want to paint on larger canvasses, and a few even fancy the notion of making money. A recent piece of academic research from two UK universities suggested there has been a narrowing of the social base of those working in media and film, partly because there is no career structure any more. This means that today’s would-be content creators need to start with at least some independent wealth, or a healthy contacts book.
Sean Stewart (above) of Fourth Wall Studios believes we have entered a ‘fifth age of storytelling’ with interactive projects like his Call Alert (opposite) and Lance Weiler’s Pandemic 1.0 (below).
There are other obvious areas of concern: the vast increase in the amount of available films to watch, from the 75 per cent increase in films made in Europe over the last decade, supported by public money, to the digitisation of a vast archive. And the diversity of the current environment is itself under threat. History suggests digital change always starts with a free–for–all land grab and ends with near monopolies. A recent survey by media consultants Simon–Kucher & Partners suggested that 90 per cent of online content would be behind a pay wall in the next three years. With terrestrial television rarely bringing challenging independent film to mass audiences, pay walls and subscriptions may lead to ever more fragmented demand, with the new and adventurous disappearing. Some of the more radical transmedia activists suggest this is all inevitable; that we are simply reaching the end of an era in which film was the means by which a culture expressed its ideas. Perhaps, as leading transmedia advocate Sean Stewart, of Fourth Wall Studios suggests, we are entering a ‘fifth age of storytelling’ of interactive, crowd–sourced and collaborative content, supplanting the one–to–many approach of movies. If that sounds like a trite simplification and that there is room for thrilling and challenging film at the centre of cultural life, then the ‘invisibility dilemma’ needs to be addressed before it becomes a crisis. m Cannes 2013 |
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Territory Focus
Panama Uncovered A strong economy, new tax incentives and a commitment to growing its film industry have made Panama a paradise for international productions. Situated on the isthmus joining North and South America, Panama has long held a fascination for explorers thanks to its lush scenery and strategic location. This year sees a raft of international productions descending on the country, including Hands of Stone, which stars Edgar Ramirez as the legendary Panamanian boxer Roberto Duran, with support from Robert DeNiro as coach Ray Arcel and Usher as fellow champ Sugar Ray Leonard, and Paradise Lost, which sees Benicio Del Toro take the role of legendary Colombian drug baron Pablo Escobar. It’s not just Panama’s stunning landscapes that are attracting such global attention, but also its burgeoning economy and the government’s renewed dedication to supporting and growing the local film industry on an international level.
In 2012, the government passed a new law that offers a 15 per cent cash rebate to international producers who spend over $3m of their production budget in Panama.
Economy and Incentives Panama has one of the fastest growing economies in the buoyant Latin American region; growth has averaged almost nine per cent a year over the last six years, and forecasts predict that it will continue on this trajectory through 2013 and beyond. While the official Panamanian currency is the balboa, US dollars are legal tender and used for all its paper currency. The balboa 18
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itself is fixed with the United States dollar at an exchange rate of 1:1; an attractive prospect, as it means that fluctuating exchange rates do not have to be factored into any production budget. In 2012, the government passed a new law that offers a 15 per cent cash rebate to international producers who spend over $3m of their production budget in Panama. (Unlike similar schemes in Puerto Rico or Colombia, there is no limit on projects coming in to the country.) The temporary importation of all film equipment into the country is tax-free, with no deposit required, while the implementation of reduced or non-existent immigration service fees and reduced visa rates for film and audiovisual production companies mean that getting cast and crew in and out of the country is painless. And for any production looking to take advantage of the low-cost local labour, Panama has no payroll tax and work permits are free.
before the crew arrives in Panama—and work closely with other governmental departments to facilitate any size of shoot. The Commission also holds a comprehensive directory of local providers of equipment and services relating to film and television production, as well as production and location guides.
Locations While it may be close to the USA—Panama City is just over six-and-a-half hours flight from LA and only five hours from New York— the country has a diverse and abundant topography, which includes tropical rain forests, beaches, volcanoes, deserts, islands, 40 ecological reservations, five natural parks, preserved historic landmarks including the iconic Panama Canal and several UNESCO World Heritage Sites. In addition to all of this stunning natural scenery, there are modern city skylines, and urban areas boasting both architectural diversity and multi-ethnic culture. m
Support and Infrastructure
Top: The diversity of Panama’s locations range from idyllic beaches to Panama City’s modern urban skyline
The Panama Film Commission (pfc.mici.gob.pa) is dedicated to supporting the producers and directors of projects shooting in the country. They provide a one-stop shop for all film permit and production needs—including the acquiring of visas and work permits
Panama Film Commissioner Arianne Benedetti will attend Cannes to actively seek new productions and business opportunities for the region. She can be reached during the festival at Village 202 in the Pantiero or at abenedetti@mici.gob.pa www.moviescopemag.com
Big scenes, intimate moments, stunning location
Incredible scenes play out at Heathrow, the world's most visually spectacular international airport. Each year 70 million people meet, part, arrive, escape, begin adventures or wave goodbye to their old lives. And it's an iconic and versatile location for pivotal cinematic moments. At Heathrow, we welcome film crews with open arms. We even have a team devoted to helping you get the best out of our modern terminals and vast, 12 square kilometre site. Films featuring scenes shot at Heathrow include Love Actually, Gambit and The Bourne Ultimatum.
For more information or to talk through what you’re looking for, email filming@heathrow.com or visit http://mediacentre.heathrowairport.com
Company Profile
Coutts While the world of film financing may have changed over the last two decades, Judith Chan, director in the media banking division at Coutts, explains that building relationships is still key to success.
What is your main focus as a director in the media banking division at Coutts? My role is to introduce and develop new business for the bank, particularly in the media, entertainment and creative sectors. In addition to meeting the everyday banking needs of companies, we are able to add value to our clients’ businesses through our extensive network of leading players in every area of the media sector. I also act as an ambassador for the bank in the sectors I am involved with by representing it at industry markets, festivals and on expert panels at events and conferences. This is an industry that revolves around relationships, so it is important for a financier to engage with the market. As the players can change quickly, it is imperative that I remain current with the marketplace to ensure that the bank works with the best partners. My focus is largely to work with independent filmmakers and I am pleased to say that Coutts was involved with 14 of the top 20 independent UK films released in the UK in 2012 (as reported by the BFI). The challenge, as a banker, is to be able to speak your credit committee’s language and your producer’s language—some call this being bilingual! You are a specialist in structuring film and television transactions. What does this entail? Every project is different because you have 20
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My focus is largely to work with independent filmmakers and I am pleased to say that Coutts was involved with 14 of the top 20 independent UK films released in the UK in 2012.
different financing parties with varying requirements and every producer is looking for the best soft money available, which often involves funding from international jurisdictions, such as Germany, Italy, South Africa, Ireland, Canada and Australia, to name a few. Each one brings its own challenges, so understanding the technical and practical difficulties faced by the producer helps me structure the financing. How have you seen the finance/investment sector change over the last 20 years? The financing models of 20 years ago were certainly different to what they are today. The international studios and distributors were very active in acquiring independent product through negative ‘pick–ups’ and pre–sales, and bank lines of credit were readily available to film companies that could support facilities with their film libraries. Films were fully financed through these routes. Insurance companies then began offering policies to insure the financiers’ risk, i.e., should insufficient distribution sales or box–office receipts fall short of recouping the full lending/investment, the financier was in theory able to claim on the insurance policy, and some difficulties were experienced here. The Government then sought to support the film industry with specific tax incentives. Many film partnerships evolved with the aim
of helping to finance the UK film industry in a tax efficient manner-these initially involved sale–and–leaseback structures. The success of these subsequently created a demand for structured equity–type products and thus many (private) film schemes were born. The Government later introduced a new tax regime (the UK Film Tax Credit) which effectively replaced the sale and leaseback structures. This new incentive enabled producers to access the tax incentives directly. We all know that this has been highly successful and has made the UK film industry feel sustainable. Long may that continue. Equity and ‘gap’ products, however, are still an integral part of most films financed in the UK, together with funding from the BFI, BBC Films and Film4. Finance may also be available from co-production partners and tax incentive schemes around the world. Secondary funding from brand integration is increasing and will continue to be an interesting partner to filmmakers and indeed all content producers. Producers are creative and resourceful and the ‘right’ film usually finds the money. m
Coutts Media Banking representatives attending Cannes: Neil Phelps, Executive Director; David Campbell, Director; Karl Dye, Associate Director; Judith Chan, Director Tel +44 (0)782 573 5260. For more information visit www.coutts.com/commercial/sectors/media www.moviescopemag.com
OWN THE STAGE A unique islAnd of creAtivity
Territory Focus
Filming in the UK While London may be the third busiest global city for film and television production after LA and New York, the rest of the United Kingdom also has much to tempt international projects of all sizes. With the BFI recently announcing its fiveyear plan for the development of the film industry, unrivalled (and expanding) studios and post-production facilities, a broad range of world-leading talent across all sectors and a raft of targeted financial incentives, the UK is positioning itself as one of the world’s prime locations for film, high-end television, animation and video game production.
Incentives In order to qualify for the UK’s hugely competitive Film Tax Credit, a production must be deemed to be British, by either passing the cultural test—points are given, for example, for a film being set in the UK featuring British characters, representing British culture, being shot in the UK, and having a primarily British cast and crew—or qualifying as an official British co-production under either an active bi-lateral treaty, currently in force with Australia, Canada, France, India, Israel, Jamaica, New Zealand and South Africa, or the European Convention on Cinematic Co-production. Additionally, the 22
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Over the last five years, the UK’s film tax credit has been worth £800m, with over 1000 film projects taking advantage of the incentives.
film must be intended for theatrical release, must reach a minimum UK qualifying production spend of 25 per cent, and be represented by a film production company that is within the UK corporation tax net. Those films that meet all of the qualifying criteria are eligible for tax relief, calculated as a percentage of qualifying UK expenditure. Films with a total budget of £20 million or less can claim a payable cash rebate of up to 25 per cent of qualifying UK film production expenditure; those with a budget of more than £20 million can claim a rebate of up to 20 per cent of the same expenditure. Qualifying UK production expenditure is defined as the lower figure of either 80 per cent of the total core expenditure or the actual UK expenditure incurred. This UK spend can take place during pre-production, principal photography and post-production, and applies to any goods or services that are used or consumed within the UK. As announced in the 2012 budget, corporation tax relief for animation, high-end television production and the video game
industries are now available. To qualify for the new Creative Industry Tax Credits, projects will still have to pass the cultural test or be an official co-production, as detailed above. In launching the Creative Industry Tax Credits, Chancellor George Osborne said, “The UK has now one of the most competitive tax regimes for the creative industries. This is the place to [make] your new hit TV show. This is the place to do your excellent animation.” He also pointed out that the UK’s creative industries are not just based in London. “What’s fantastic about [this] industry is that so much of it happens throughout the country,” he said, “whether it’s animation in Bristol, video games in Dundee or, of course, [HBO drama] Game of Thrones in Northern Ireland.” Over the last five years, the UK’s film tax credit has been worth £800 million, with over 1000 film projects taking advantage of the incentives; it’s now estimated that television, animation and video game production within the UK will grow to similar levels. (Further www.moviescopemag.com
information about creative industry tax credits can be found at www.bfi.org.uk/film-industry.) Other funding incentives come in the form of the Enterprise Investment Scheme, designed to encourage investment in small companies trading within the UK. Many film production companies are successfully using the EIS to raise funds for lower-budget
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Opposite: Highclere Castle in Hampshire Left: Parts of HBO’s epic fantasy drama series Game of Thrones are filmed in Northern Ireland.
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film projects, with investors receiving 30 per cent tax relief on the amount their invest in company shares. There are additional tax benefits, for both successful and unsuccessful projects, as film tax expert Dave Morrison of chartered accountants Nyman Libson Paul explains. “If the project is successful and the investor is
‘in’ for three years—a suitable lifespan for a film production company—then any disposal of those shares may be tax–free. On the other hand, if the project flops, the investor can claim a tax loss against income of the remaining 70 per cent of their investment; i.e., the amount they invested less the 30 per cent tax relief at the start. This latter feature means that a 50 per cent taxpayer may only be at risk for as little as 35 per cent of the amount invested, whereas if things go well they could profit tax-free plus the 30 per cent initial tax relief.” It’s no surprise, then, that EIS is being utilised throughout the industry; in February 2013, Prometheus director Ridley Scott partnered with Orchard Media Ventures to launch an enterprise investment scheme, which seeks to raise £5 million to fund six low-budget UK genre films. Running alongside the EIS is the Seed Enterprise Investment Scheme (SEIS); similar in set-up to EIS, the SEIS has a specific focus on investment in smaller, younger companies. It offers investors 50 per cent tax relief on investments of up to £10,000 per annum and a company can raise up to a total of £150,000 through a SEIS scheme,
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Kent County Council Film Office offers a first class film commissioning service for all manner of productions. Offering a vast, eclectic range of locations, Kent has 350 miles of varied coastline and a range of studios including the largest independent HD Stage in the UK. With over 600 local contacts for crew, equipment hire, facilities and production services, let Kent open possibilities.
www.kent.gov.uk/filmoffice • Tel: +44 (0)300 333 5656
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Territory Focus
making it attractive to those seeking film development funding. In order to encourage more investors to take up the scheme, the Government’s 2013 budget included a limited extension of the capital gains tax holiday; meaning that any investors making capital gains in 2013-2014 will receive a 50 per cent capital gain tax relief when they reinvest those gains into seed companies in either 2013-2014 or 2014-2015.
Infrastructure and Facilities The BFI is now the lead body for film throughout the UK, with responsibility for funding, film development and production, along with other initiatives such as training, distribution and exhibition, education, strategic development and industry research. The BFI also leads and manages the new international-facing brand We Are UK Film (www.weareukfilm.com), aimed at boosting the profile of the UK’s films, talent, services and locations in a unified way, and providing a platform for the UK to do business with other international territories. Nine organisations from throughout the UK have been brought together under the umbrella brand—BFI, British Film Commission, British Council, Film Export UK, Creative Scotland, Northern Ireland Screen, Film Agency for Wales and Film London—with the potential for other organisations and businesses to adopt the branding. Just as Scotland, Wales and Northern Ireland have dedicated film offices, so do most of Britain’s individual counties. These offices provide a raft of expert advice and 24
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The UK boasts world-leading post-production facilities, many based conveniently close to each other in the heart of London’s Soho.
logistical support to productions shooting within their boundaries, and handle everything from permits to liaising with local council and police services. Film Hampshire (www.hants.gov.uk/filmhampshire), for example, has assisted such myriad productions as Quantum of Solace, Son of Rambow and TV hit Downton Abbey to film throughout the county, while Les Miserables, The Other Boleyn Girl and My Week With Marilyn have all been supported by the Kent Film Office (www.kentfilmoffice.co.uk ). The UK also boasts world-leading post-production facilities, many based conveniently close to each other in the heart of London’s Soho, as well as several of the globe’s top film studios, which feature the full range of facilities, from the latest green screen technologies to huge water tanks, exteriors and sound stages. One of these is 3 Mills Studios (www.3mills.com), the largest studio complex within London and perfectly placed for access to the capital’s myriad location opportunities and creative services. Based in the east of the city, 3 Mills boasts 11 stages, 10 rehearsal rooms, over 170 production offices, permanent prison exterior and cell set, period buildings, make-up and dressing rooms, prop stores, construction workshop and screening room. While 3 Mills is a dry hire facility, there is an onsite Media Village whose tenants can assist with various production needs. Director Danny Boyle, who has spent the last 10 years working at the studio on such projects as Sunshine, Trance and the London Olympics
Opening Ceremony, says “Having worked almost exclusively at 3 Mills for the last decade, I can recommend the experience to anyone.”
Locations The British Isles has a plethora of natural locations, including rugged coastlines with secluded beaches, over 200 square miles of national forests, mountains, highlands, parks and flatlands. The UK’s extensive history is visible throughout its towns and villages, many of which retain original ancient architecture, while its urban centres offer a wide variety of skylines and modern buildings. As well as its landscape, towns and villages, there are a plethora of other, more unique location opportunities for productions www.moviescopemag.com
with specific needs. Everything from museums, historic buildings, royal palaces and the like can accommodate film, television and commercial crews, and there are limitless— and often surprising—location opportunities to be found the length and breadth of the British Isles; such as those offered by Network Rail and Heathrow Airport Holdings. As one of the largest land and property owners in the UK, Network Rail own and operate the whole of Great Britain’s rail infrastructure, which includes 18 of the largest stations in the country, 20,000 miles of track, 40,000 bridges and over 8,000 commercial properties. Network Rail are devoted to providing proactive support to any projects wishing to utilise any of their myriad locations— as they have previously done for the likes of The Bourne Ultimatum, Mission: Impossible and the Harry Potter franchise, for which they helped create King’s Cross iconic Platform 93/4—and have a dedicated one–stop website with information and contact details. (www.filming.networkrail.co.uk/home.aspx ) Similarly, Heathrow Airport Holdings (formerly BAA) is equally as committed to providing flexible opportunities for domestic and international productions who wish to
Opposite top: 3 Mills Studios in London’s East End is the city’s largest studio complex. Opposite below: The recently restored concourse at Kings Cross Station. Left: Heathrow Airport Terminal 5. (Photo © Greg Davis)
shoot at any one of their four airports; Aberdeen, Glasgow International, Southampton and Heathrow. And while filming at Heathrow, the world’s busiest airport, may seem like a logistical headache, there is a dedicated filming support team who can assist with everything from security to the moving of equipment and crew, both within the main terminals and at the various ancillary buildings—
including listed 1940s Nissen huts, cargo warehouses and the new Heathrow By Invitation suites—on the 3000 acre site. (www.mediacentre.heathrowairport.com) m
We Are UK Film is located at Pavilion 119 in the International Village. A number of British industry experts will also be on hand for networking, meetings, events and seminars.
• vast and varied range of locations • excellent transport links to London and beyond • easily navigable website and expert advice
Let Hampshire Set www.moviescopemag.com
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Company Profile
Premiere Entertainment Group Production, financing and international sales company Premiere Entertainment Group was founded in July 2012 by Elias Axume, former head of sales at Myriad Pictures, and Ryan Noto, CEO and owner of Digital Post Services (DPS). Together the pair has several years of industry experience, and has worked on a large variety of award-winning films.
“Our objective is to acquire, produce and distribute quality feature films with great stories and known cast that appeal to a worldwide audience,” says Axume of the company’s goal. In order to achieve this effectively, Premiere Entertainment prides itself on working with producers at every stage of a project, from pre–production right through completion, and therefore maximizing the potential of every single film. Joining CEO Axume and President Noto on the Premiere Entertainment team are SVP Sales and Acquisitions Jack Campbell, formerly of Maya Entertainment and Spotlight Pictures, and Director of Development and Acquisitions Tony Piantedosi, formerly Director of Development at Televix Entertainment. “We’re extremely excited heading into Cannes this year,” says Campbell. “We have a strong line–up with cast–driven titles that will perform well on all platforms in territories across the globe.” “Audiences are hungry for bold and unique new content, and there is a surge of emerging talent that is rife with potential,” adds Piantedosi. “Premiere’s mission to discover superior films and filmmakers, in every genre, has armed me with a large net.” Premiere Entertainment possesses a 26
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“We have a strong line-up with castdriven titles that will perform well on all platforms in territories across the globe.”
unique advantage because of its affiliation with Digital Post Services (DPS) the post– production laboratory in Hollywood. “I have always known we could make affordable films with big budget picture and sound quality via the luxury of doing our post internally,” says Noto. “DPS has the ability to advance both picture and sound post services to filmmakers to help them achieve their cinematic dreams without budgetary limitations. This is not an exclusive offering to Premiere, as bringing quality movies to the screen is always the goal.” Indeed, Premiere Entertainment’s proactive approach and experienced team
has already borne impressive fruit; in the relatively short time since the company’s inception it has acquired 12 remarkable titles. These include SXSW 2013 favourite Scenic Route (above), a thriller starring Josh Duhamel and directed by Kevin and Michael Goetz; the comedy Afternoon Delight (below), which stars BAFTA Rising Star Award Winner Juno Temple and which won the Best Director award for helmer Jill Soloway at Sundance 2013; fun family comedy Hairbrained, starring Brendan Fraser; and the artistically powerful Papa, produced and directed by Bob Yari (Crash, The Illusionist ). Premiere Entertainment is also currently in post–production at Digital Post Services with its feature film The Outsider, an action thriller which stars Jason Patric, James Caan and Shannon Elizabeth. The film is a co– production with Zero Gravity Management and Hollywood Media Bridge. Another action movie, The Night Crew, is currently in development and is due to start shooting in summer 2013. To find out more about Premiere Entertainment’s upcoming roster, visit www.premiereentertainmentgroup.com Cannes Location: LERINS, Stand R20 Telephone: +33 (0)4 92 99 32 03 m www.moviescopemag.com
Putting your shoot on the right track • We manage filming in 20 stations, including London King’s Cross, London Waterloo, St Pancras International, Manchester Piccadilly and Glasgow Central • One of the largest landowners in the UK, we own contemporary and period locations ranging from railway arches, bridges and viaducts, industrial wastelands and signal boxes, to shopping centres, car parks, retail units and high-spec office blocks • All types of production welcome • With a single point of contact, we make even the most complex of shoots run smoothly
Please contact Felicity Jump, commercial filming manager on 0207 904 7375 or 07887 896 411, or email: felicity.jump@networkrail.co.uk www.networkrail.co.uk/filming
Feature Acquisitions
MEET THE BUYERS At this year’s Marche du Film, over 4,100 titles from 104 countries—some still in early stages of development—will compete for the attention of a select number of buyers, all with the power to ensure their films reach the right audience. As the landscape for independent film distribution and exhibition continues to change rapidly, we asked a sample of international acquisition executives for their views on the impact and opportunities of VOD, changing release strategies, emerging markets and what they look for when considering which projects to acquire.
nberg (NL) Banne mière u r e L h , t x s E enelu itions B is u q c A Esther Bannenberg Acquisitions Benelux Lumière (NL) Theatrical distributor of European, North American and Asian titles with an acquisition preference for high quality dramatic material. Offices in Bruges, Gent and Amsterdam. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: KILL YOUR DARLINGS (Dir: John Krokidas / USA / Drama); JIMMY P (Dir: Arnaud Desplechin / France / Drama); DISCONNECT (Dir: Henry-Alex Rubin / USA / Drama): BLOOD TIES (Dir: Guillaume Canet / USA/ Drama); LIKE FATHER, LIKE SON (Dir: Hirokazu Kore-Eda / Japan / Drama) “My main acquisitions focus is to find material for an audience that is generally interested in culture; since we are passionate about books, art, music and film ourselves, we know how best to reach them. “Since Benelux is a healthy and competitive market, pre-buys are 28
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obviously easier if a project involves an established creative team, prestigious cast and original or authentic stories. We do not shy away from debuts or new genre introductions, so long as it involves high-end material. Our line up shows a selective but broad diversity in good quality feature films, documentaries and TV series, which originate from all over the world. This variety of projects has not only proven to be successful in releases, but also given us the opportunity to cross over to a wider audience between different platforms and windows from time to time.”
Caroline Campbell Director Accent Film Entertainment (AUS) Independent, all-rights film distributor releasing a diverse range of films in all genres from around the globe. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: THE RETURN OF JOE RICH (Dir: Sam Auster / USA /
Caroline Campbell , Directo Accent F r, ilm Enter tainment (AUS)
Thriller); SPLINTERED (Dir: Simoen Halligan/ UK / Horror); PRANK (Dir: Yiuwing Lam / USA / Thriller); PIG (Dir: Henry Barrial / USA / Horror) “Market segmentation and audience selection between online PPV and DVD is currently very disparate. Psychographic segmentation has widened by way of audience age and the means they use to view content. These fragmented audiences have in turn diminished revenue streams to fractional payment, which seriously impacts on capital resources required to meet traditional buying and consequential payment requirements. “PayTV in Australia is no longer a credible option for exploitation of all rights, as the playing field has been reduced to one over-inundated gateway controlled by the Studios. In reality, the issues surrounding All-Rights and Traditional vs VOD, PPOV or online digital EST distribution and delivery methods are extremely complex, as they differ widely in each territory.
Developed mass-market territories currently seem to have the upper hand in what appears to be a growing volume–based and fractional income business, where the risk-reward ratio has become more like the Pareto Principle; 80 per cent risk, 20 per cent shared reward. In summary, the current business model is not only broken, but the wheels have fallen off the cart!”
Gianluca Chakra MD, Head of Acquisitions Front Row Filmed Entertainment (UAE) Dubai–based independent with branches in the UAE, Kuwait and Lebanon acquiring all-rights for the Middle East, North Africa and Iran; 35 theatrical titles released with expansion into regional VOD market. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: THE MOTEL LIFE (Dirs: Alan Polsky & Gabriel Polsky / USA / Drama); SAVING SANTA (Dir: Arish Fyzee / USA / Animation); THE GUEST (Dir: Adam Wingard / USA / Action/ www.moviescopemag.com
Feature Acquisitions
t, Presiden
Vice oninger, Sejin Cr ns Acquisitio e id w ld A) r Wo One (US t n e m in a Entert
Adventure); BLACK MASS (Dir: Barry Levinson / USA / Crime) “The Middle East is a tough territory to distribute films; especially arthouse films. You’ll never have a problem releasing bigger films but with smaller, worthy ones, these often don’t see the light of day mainly because of the high turnover of films in the region (8—11 titles are released weekly), which often doesn’t give a chance for the word of mouth to spread and have Silver Linings Playbook—type success. Unfortunately, there is no silver lining in the Middle East. “This can backfire on rising local filmmakers, whose work is often dissed. The only way to successfully distribute high–end arthouse, local films and develop a new wave of cinema currently relies on VOD (often promoted through a premium VOD window) and obviously digital distribution on platforms such as Itunes and eventually Google Play, where social media would take care of the marketing.”
Sejin Croninger Vice President, Worldwide Acquisitions Entertainment One (USA) Leading international entertainment company specialising in the acquisition, production and distribution of film and television content, worldwide. Current rights library extends to over 35,000 film and television titles, 2,700 hours of television programming and 45,000 music tracks. 30
| Cannes 2013
Elisa Ma rtin De Blas Head of Internatio nal Acqu TriPictu isitions res (SP)
Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: WE ARE WHAT WE ARE (Dir: Jim Mickle / USA / Thriller); SCATTER MY ASHES AT BERGDORF’S (Dir: Matthew Miele / USA / Doc); PASSION (Dir: Brian de Palma / France / Thriller); COSMOPOLIS (Dir: David Cronenberg / Canada / Thriller) “It’s certainly an exciting time for independent cinema with the explosion of the digital revolution but, at the same time, it brings the industry’s biggest challenge with the sheer volume of films that flood the marketplace. “As a distributor, it falls on us to recognize strong, marketable films that will connect with audiences, and having non-traditional and hybrid releasing models allows us the freedom to take on titles that would normally be costprohibitive. I think the industry as a whole is still experimenting with different windowing options as audiences move to consume entertainment in new ways but, at the same time, we recognize the desire for the traditional theatrical experience and our focus remains on upscale fare with strong commercial potential across all genres. We are certainly interested in director-driven films but also keen to discover unique new voices and break new talent.”
Elisa Martin De Blas Head of International Acquisitions TriPictures (SP) Madrid-based Spanish distributor and producer acquiring primarily from the
s
sition Acqui f o ead UK) ds, H r a w tion ( d u E b i r s Dist Gile ome d o r t Me
USA and Europe across Drama, Family and Romance genres. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: UPSIDE DOWN (Dir: Juan Solanas / Canada / Romance); THE FLIGHT (Dir: Robert Zemeckis / USA / Drama); THE PAPERBOY (Dir: Lee Daniels / USA / Drama); THE TREE OF LIFE (Dir: Terrence Malick / USA / Drama) “Spain is facing its most difficult time at the moment and our criteria for acquiring content is adjusting to such a situation. Theatrical potential is limited and so are television sales. No VOD platforms have taken off as of today and piracy has destroyed our video market. “We strongly believe content is still the key and the challenge of our changing business model will rely on giving the possibility to customers to have access to such content anytime, anywhere. And in my opinion, this applies everywhere. Buying a good project is still the key underneath it all; a good story and a good script are usually winners but, as the model changes, we all need to adjust—from production, to distribution to marketing— and find better and more efficient ways to reach our customers.”
Europe. Also maintains a fully owned subsidiary in Germany, buying all rights for German–speaking Europe, as well as a vertically integrated home entertainment distribution division in Switzerland. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: LOOMIS FARGO (Dir: Jared Hess / USA / Comedy); THE IMITATION GAME (Dir: Morten Tyldum / USA / Thriller); FOR THE DOGS (Dir: Philip Noyce / USA / Thriller); SOLACE (Dir: Afonso Poyart / USA / Thriller; DIVERGENT (Dir: Neil Burger / USA / Action/Adventure) Acquisitions in the past 18 months by genre
Other
Thriller
Drama
Action/ Adventure Comedy
Giles Edwards Head of Acquisitions Metrodome Distribution (UK)
Karin G. Dietrich CEO, Acquisitions Ascot Elite Entertainment Group Leading independent theatrical and DVD distributor in Switzerland and one of the oldest entertainment companies in
Established independent UK distributor acquiring film rights across multiple genres for all exploitations in the UK. Acquiring: Theatrical, TV, DVD-Video, Airline, VOD Recent Acquisitions: THE NUN (LA www.moviescopemag.com
FROM THE NETHERLANDS @ CANNES
CO-PRODUCTION
MARKET
SCREENINGS
APP
THE DOMINO EFFECT
FRANKENSTEIN’S ARMY
Directed by Bobby Boermans Produced by 2CFilm Sales: High Point Media Group
Directed by Paula van der Oest Produced by Kasander Film Sales: ARRI World Sales
Directed by Richard Raaphorst NL Producer Pellicola Sales: MPI Media Group
IT’S ALL SO QUIET
MATTERHORN
RAW HERRING
Produced by Circe Films, N279 Entertainment Sales: Films Distribution
Directed by Diederik Ebbinge Produced by Column Film Sales: Media Luna New Films
Directed by Leonard Retel Helmrich & Hetty Naaijkens Prod: In-Soo Productions Sales: First Hand Films
HELI
SILENT ONES
DIE WELT
THE ZIGZAG KID
Directed by Amat Escalante NL Producer Lemming Film Sales: NDM
Directed by Ricky Rijneke Produced by Rotterdam Films Sales: WIDE
Directed by Alex Pitstra Produced by Alex Pitstra Media Sales: Premium Films
Directed by Vincent Bal Produced by BosBros Sales: Attraction Distribution
your Dutch film connection
international@eyefilm.nl | www.international.eyefilm.nl | Dutch Pavilion, Village International # 109
Feature Acquisitions
Adley Gartenstein President, Film Mov em
ent (USA)
RELIGIEUSE) (Dir: Guillaume Nicloux / France / Drama); PASSION (Dir: Brian de Palma / France / Thriller); UPSTREAM COLOR (Dir: Shane Carruth / USA / Sci-Fi); THE LIABILITY (Dir: Craig Viveiros / UK / Thriller); FRANCES HA (Dir: Noah Baumbach / USA / Comedy) “Even for an all—rights distributor like Metrodome, the heavy Home Entertainment drive of the UK market (physical media and digital) remains the ever shifting, churning, genrecycling bottom line. If you’re not a star-driven blockbuster brand or a theatrical crossover critical darling, then the challenge to reach the audiences loyal to those two poles and little in between remains ever present. With so many viewing options available and, in the UK, a relatively large proportion of content providers/distributors, the audience doesn’t care about the film’s budget. It’s a fairly democratized, level playing field and the pitch simply has to be the most compelling on offer to whoever’s watching/buying/clicking/ streaming/downloading. But there is still the desire for audiences to engage with films that challenge them. Being able to take savvy pick-ups from either seasoned auteurs or vibrant, spiky new cinematic voices and package them with the finesse, intrigue or unique spin that draws an audience in as forcefully as any studio brand… that’s the goal.” 32
| Cannes 2013
erlach Steffen G (DE) ight Pictures CEO, Capel
Adley Gartenstein President Film Movement (USA) Full-service, New York-based North American distributor of award-winning independent and foreign films that has released over 250 features and shorts from over 50 countries, across a multitude of distribution channels, including theatrical, day and date with VOD via its own DVD subscription program. Acquiring: Theatrical, TV, DVD-Video, VOD, Airline Recent Acquisitions: WATCHTOWER (Dir: Peli Esmer / France / Drama); IN THE NAME OF (Dir: Malgoska Szumowska / Poland / Drama); KEY OF LIFE (KAGIDOROBOU NO METHOD) (Dir: Kenji Uchida / Japan / Drama); BROKEN (Dir: Rufus Norris / UK / Drama) “When we started the company 11 years ago people were watching films primarily in a theatrical setting, and months later on DVD and TV. Today there’s also Cable VOD, Subscription VOD and numerous other digital platforms. People have huge flat screen televisions in their home, and with great ease they can choose from over 50,000 films with the touch of a button, right in the comfort of their own living rooms. “It has made the theatrical distribution model more challenging, and it often serves as merely a promotion for the other windows. Moreover, since the same film will
Aranka M atits, He ad of A Pretty P cquisition ictures (F s, R)
often perform differently on each platform, it has made acquisition choices more difficult as there are more variables to consider. For instance, we may sometimes acquire a title to just release on VOD, as we think it will not perform in other windows. Nonetheless, we are still buying films that we can be proud to call Film Movement titles because of their aesthetic and emotional resonance.”
Steffen Gerlach CEO Capelight Pictures (DE) German–based independent distributor acquiring predominantly North American and European content for domestic theatrical release. Catalogue titles include include Control, The Fall, The Young Victoria and Sunshine Cleaning. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: THE FIRST TIME (Dir: Jonathan Kasdan / USA / Comedy); HÉRÈSE DESQUEYROUX (Dir: Claude Miller / France / Drama); REVENGE FOR JOLLY! (Dir: Chadd Harbold / USA / Action/Adventure); THE SEASONING HOUSE (Dir: Paul Hyett / USA / Horror); THE PERKS OF BEING A WALLFLOWER (Dir: Stephen Chbosky / USA / Drama) “This is the ninth year we have attended the Marché du Film, and it’s our most important market of the year. In the past, we picked up films at Cannes including Anton Corbijn’s Control and Gaspar Noé’s Enter the
Void. For us this market is especially important because we mostly pick up completed films, and there is always a variety to choose from in a great variety of genres. “In terms of release strategy the German market is not as open as the U.S. market in relation to ‘theatrical release strategy experiments’. There are no VOD/TH day and date releases, nor many alternate release strategies. The four month theatrical window remains for almost every film, unless you have ‘alternative content’. We marketed Imaginaerum by Nightwish as a music film, opening it theatrically on 100 screens in Germany just on one day, two months before the VOD and home video release date. This worked really well, and it was the highest grossing film in terms of box office that day. We will also give Into the White an exclusive iTunes window, before it will be released on DVD and Blu-ray. These are just some exceptions; this ‘conservative’ market tends to work really well, with DVD and especially Blu–ray numbers still being really strong.”
Aranka Matits Head of Acquisitions Pretty Pictures (FR) Paris–based distributor releasing European, North American and Asian content theatrically throughout France. Predominant genres include Drama and Documentary. Acquiring: Theatrical, TV, DVD-Video, VOD www.moviescopemag.com
Feature Acquisitions
Recent Acquisitions: THE LOOK OF LOVE (Dir: Michael Winterbottom / UK / Drama); THE HUNT (JAGTEN) (Dir: Thomas Vinterberg / Denmark / Drama); PIETA (Dir: Ki-Duk Kim / S.Korea / Drama); WADJDA (Dir: Haifaa Al-Mansour / Germany / Drama) “Pretty Pictures has always been a theatrical distributor and our focus will remain on releasing films in theatres. We believe in film for cinema. Also, the French TV landscape has shifted radically and television sales are increasingly less part of our calculations. Naturally, VoD releases are on the rise but the archaic law of ‘chronologie des médias’ restricts distributors in exploring release strategies such as the US day–and–date model. “When looking for projects we are always very open. Wadjda by Haifaa Al-Mansour is a good example of this approach. The first film ever to come out of Saudi Arabia, Wadjda is also a first feature and the main character is an 11–year–old girl. The project lacked all the elements that would encourage a pre–buy, yet we liked the script and, after tracking the project for a year, we decided to take a risk. The success of the film shows that rules in the business are meant not to apply.”
Alison Meese Head of UK Acquisitions StudioCanal (UK) Pan–European film, production and sales distribution arm of French media group, Canal+. The UK arm, formerly 34
| Cannes 2013
known as Optimum Releasing, takes an innovative approach to distribution and has enjoyed success with a varied mix of film titles across all genres. Acquiring: Theatrical, TV, DVD-Video, VOD, Airline Recent Acquisitions: CATCH ME DADDY (Dir: Daniel Wolfe / UK / Thriller); KILL YOUR FRIENDS (Dir: Owen Harris / UK / Black Comedy); 71 (Dir: Yann Demange / UK / Drama); ROBOCOP (Dir: José Padilha / USA / Sci-Fi); ALAN PARTRIDGE: THE MOVIE (Dir: Declan Lowney / UK / Comedy) Acquisitions in the past 18 months by genre
Horror
Others
Drama
Black comedy Docs
Carl Rickmers Acquisitions Splendid Film (DE) Active in the film licensing business for more than 35 years, acquiring film rights for Benelux and German– speaking Europe. Acquiring: Theatrical, TV, DVD-Video, Airline, VOD Recent Acquisitions: THE COLLECTION (Dir: Marcus Dunstan / USA / Horror);
THE EXPENDABLES 3 (Dir: TBC / USA / Action/Adventure); TEN (Dir: David Ayer / USA / Action/Adventure); SIN CITY 2 (Dirs: Robert Rodriguez & Frank Miller / USA / Action/Adventure) “When I consider films I try to look for the most interesting package. It is a combination of all elements from the script, to cast, to director, to producer. Very important to me is if I believe the concept can work and if it is marketable. Of course, I am also considering if the price is reasonable to what the film aims to achieve, which could be anything from a straight–to–video genre film to a big budget action film. “On the theatrical side, finding the right release date is probably the most difficult part when you distribute, because there are quite a lot of elements you cannot control. It may be another film’s success, a different appetite for a certain genre, or simply good weather that could work against you. But even if everything seems to be on track, you can never honestly know if a film will actually work. There will always be that unforeseeable element that leads to surprises or disappointments. But I think that’s what makes the business so interesting.”
Mila Rozanova VP, Acquisitions & Co-Productions Carmen Film Group (RU) Moscow-based theatrical, video, television and VOD distributor acquiring all-rights across multiple genres. Operates as two labels: Caravella for
commercial releases theatrically, and Alternative Cinema for arthouse releases. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: RUBY RED (RUBINROT) (Dir: Felix Fuchssteiner / Germany / Action/Adventure); THESEUS (Dir: Javor Gardev / USA / Action/ Adventure); THE F WORD (Dir: Michael Dowse / Canada / Comedy); OLDBOY (Dir: Spike Lee / USA / Action/ Adventure); THE ZERO THEOREM (Dir: Terry Gilliam / Romania / Sci-Fi) Acquisitions in the past 18 months by genre
Fantasy
,
isitions ers, Acqu m k ic R l Car ) Film (DE Splendid
Tom Stew art, H Arro ead o w Fil m Dis f Ac tribu quisit ions tors (UK)
Other Comedy
Drama
Action/Adventure
Tom Stewart Head of Acquisitions Arrow Film Distributors (UK) Leading independent, multi-platform UK distributor specialising in foreign language, cult, horror and arthouse films. Acquiring: Theatrical, TV, DVD-Video, Airline, VOD Recent Acquisitions: THE CONSPIRACY (Dir: Christopher MacBride / USA / Thriller); A HIJACKING (KAPRINGEN) (Dir: Tobias Lindholm / Denmark / Drama); LOVE IS ALL YOU NEED (Dir: Susanne Bier / www.moviescopemag.com
Director: Renny HaRlin Cast: Kellan lutz liam mcintyRe Starts: may 2013
CANNES 2013 • PAlAiS • RiviERA • Booth F1 tel: +33 ( 0 ) 4 92 99 32 35 Global Headquarters 6423 Wilshire Blvd. Los Angeles, California 90048 +1 310 388-6900p +1 310 388-6901f sales@nuimage.net CREDITS NOT CONTRACTUAL
Feature Acquisitions
under, erg, Co-fo b in iz V n a Y cliq (USA) CEO, Cine
Denmark / Drama); SAMSARA (Dir: Ron Fricke / USA / Doc); THE HUNT (Dir: Thomas Vinterberg / Denmark / Drama) “It’s about constantly staying ahead of what’s around the corner across the globe, either being the next buzz thing or keeping to the principles set within our model and sticking to them. Ultimately, it is important to sustain an extremely high standard of production, whether it be film or TV. “The VOD platform is an incredibly important sector in our business model as we are now acquiring more and more All Rights on television series. It’s incredibly exciting to see countries such as Latin America, for example, producing some wonderful, diverse series and films, and the UK having such an appetite for delving into our other worlds. “My hunger for acquisitions stems from an ever–growing appetite for incredibly well–told universal stories that educate and entertain and, thankfully, productions over the last few years have provided that. For example, Scandinavian projects like The Killing, The Bridge and Borgen all had, or are in the process of having, remakes from both sides of the pond.”
Peter van Steemburg Director of Acquisitions Magnolia Pictures (USA) Worldwide distributor and producer of feature length content across multiple genres and platforms. 36
| Cannes 2013
Marcin Was Head o f Acqu isition & Best F Distrib ilm Co ution (POL)
Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: PRINCE AVALANCHE (Dir: David Gordon Green / USA / Drama); I GIVE IT A YEAR (Dir: Dan Mazer / UK / Comedy); MILO (Dir: Jacob Vaughan / USA / Horror); THE EUROPA REPORT (Dir: Sebastian Cordero / USA / Sci-Fi); BEST MAN DOWN (Dir: Ted Koland / USA / Comedy) Acquisitions in the past 18 months by genre
Other
Comedy
Documentary Horror
Drama
Yan Vizinberg Co-founder, CEO Cinecliq (USA) Global VOD platform offering direct integration with Facebook via the Cinecliq PRO suite of professional tools for online film marketing and monetization. Includes Facebook Film Apps, multi– tiered launch services, and custom VOD and rights management services. Acquiring: VOD Recent Acquisitions: SLAMDANCE ANARCHY SHORTS (Dirs: Andrew Kavanagh & James Benning / USA); THE FREEBIE (Dir: Katie Aselton / USA
/ Comedy); TINY FURNITURE (Dir: Lena Dunham / USA / Comedy); THE MYTH OF THE AMERICAN SLEEPOVER (Dir: David Robert Mitchell / USA / Comedy) “Currently there’s a growing oversupply of film content and, at the same time, a constantly reducing demand for it, because cinema competes with so many other new activities. Producers and distributors face more competition, while consumers face the problem of choice. In reality, however, these are not problems at all. This is just a healthy market situation that is good for consumers. And this is where VOD comes in; it’s allowing the smallest films aimed at very specific groups to be delivered to these previously unreachable audiences. Theatre owners may not want to hear this, but it doesn’t matter what theatre owners want; what matters is what consumers want. “When we select films for Cinecliq, the main question we ask ourselves is, ‘Is there a clearly defined audience that the film is aimed at?’ Cinecliq’s social features and unique integration with Facebook makes our viewers into promoters and supporters of content that they viewed on our platform. We believe in a power of niche, special interest, word of mouth and technology.”
Marcin Was Head of Acquisition & Distribution Best Film Co (POL) Warsaw-based mainstream and
art-house distribution company with interests in Polish film production and international co-production initiatives. Acquiring: Theatrical, TV, DVD-Video, VOD Recent Acquisitions: FRANCES HA (Dir: Noah Baumbach / USA / Comedy); THE WAY WAY BACK (Dirs: Nat Faxon & Jim Rash / USA / Comedy); BEFORE MIDNIGHT (Dir: Richard Linklater / USA / Romance); QUARTET (Dir: Dustin Hoffman / UK / Comedy) “Much as we see the growing role of VOD, it practically replaces the HV window rather than changes the distribution model itself. Hybrid releases or alternative distribution models remain at experimental stage and although we closely look at such things as day–and–date models and their impact on release strategies, theatrical release continues to be the backbone of our release strategies. There are other factors that impact the traditional model, however; illegal streaming and social media among them. The effect can be seen in polarisation of theatrical results, for example. “Further to that, the audience has become much more selective so, when looking for a right project, it is more about finding the right combination of all the key elements—cast/script/budget/ audience—rather than repeating any proven formula. The outsize successes of some recent titles catering for what is traditionally perceived as ‘niche’ audience show the shift among cinema-goers and consequently our acquisition strategy.” m www.moviescopemag.com
INDUSTRYWORKS PICTURES PRESENTS
w w w.industr y-wor ks.com
Territory Focus
South Africa’s Presence in Cannes The South African film industry will be showcased at Cannes with a wide variety of events coordinated and hosted by the National Film and Video Foundation (NFVF). The South African film industry is set to make a big splash at Cannes with a large contingent of filmmakers based at the South African Stand, official screenings of new feature films Blitz Patrollie (above) and Black South–Easter, the signing of a Memorandum of Understanding with Kenya and a co– production forum with treaty countries and networking functions. South Africa’s participation at Cannes is coordinated and hosted by the National Film and Video Foundation (NFVF), which has scheduled a South Africa Day on Saturday May 18. This includes a presentation of the local industry by the NFVF and the Department of Trade & Industry, which provides financial incentives for filming in South Africa, and a networking function at Rado Plage. NFVF is also sponsoring 10 filmmakers to attend the festival. “Our tagline for Cannes 2013 is ‘New Markets, New Investments’,” says Naomi Mokhele, NFVF’s Communications & Public Affairs manager. “As part of South Africa Day we will be signing the MoU with Kenya, a country that is really keen to work with 38
| Cannes 2013
Our tagline for Cannes 2013 is ‘New Markets, New Investments’
South Africa. We are also holding a coproduction forum with three of our treaty co-production countries; Australia, Ireland and New Zealand. “On 19 May we will have the South African Focus, where we will showcase several films,” Mokhele continues. “These include Gog Helen, Klein Karoo, A Lucky Man, Jimmy in Pink, Pretville, Fanie Fourie’s Lobola, A Small Town Called Descent, Durban Poison, Here We Move, Angel of the Skies, and Khumba. We have invited sales agents, distributors and film festival directors to the event.” This year, NFVF is partnering with the Film and Publication Board (FPB), with whom it has a MoU, to attend Cannes. “As part of our partnership with the NFVF, we are sending a small delegation to Cannes to engage with filmmakers and distributors and explain to them how classification works in South Africa,” says FPB spokesman Prince Mlimandlela Ndamase. “Normally FPB only engages with filmmakers when they submit their final products to us for classification, so this visit to Cannes is a way of trying to connect with them before that stage. We want to get across
that classification is also an economic issue; if your film receives a high rating then your audience will be more limited.” Additionally, the Durban Film Office (DFO) is also attending Cannes for the first time, to market the Durban FilmMart (DFM), a joint programme of the DFO and the Durban International Film Festival (DIFF). Also, for the first time, the NFVF has organised official market screenings for two South African films; comedy Blitz Patrollie, which will screen on Friday May 17 at 4pm at the Arcades 2 screening venue (just outside the Palais des Festivals), and noir thriller Black South–Easter, which will screen on Monday May 20 at 4pm at the same venue. Another South African film to have its market screening at Cannes is animation Khumba, a film produced by Triggerfish Studios following the global success of Adventures in Zambezia. m The South African Stand is located at stand number 120 at the Village International Pavilion. With thanks to Screen Africa. www.moviescopemag.com
Opinion Mick Southworth and Martin McCabe
Film Release Slot Machine Distribution experts Mick Southworth and Martin McCabe explain how a decline in studio production brings opportunities for the independent sector. The evolution of independent UK production has seen many false dawns over the last 20 years. Yet, oddly, during a time of worldwide financial apocalypse, a potential diamond is sparkling in the dark. We might just be looking at a potentially positive transformation in our fortunes, and the way we view and do our business. It could even be that if these new opportunities are fulfilled, they could revolutionise the sector and help focus the commercially smart to reach audiences of which they could only have dreamed of previously. Right now, there are fewer UK tax incentives to provide production funds. No Section 48 or 42. British Screen is gone. Financially, the BBC and Channel 4 are on their collective nuts. You can’t count on the BFI to wade in, and nearly every indigenous distribution company or sales outfit is on the breadline. As for equity investors prepared to take a punt… well most of those are either living in padded cells or helping the police with their enquiries. So what’s all this positive message stuff? 40
| Cannes 2013
Going back to the studios, we must determine why they are currently making so few films, and why this provides such a glowing opportunity for the independent sector.
The fact is that studios are simply not making the level of production output that they have in the past, and this at the very time that the lines of communication and delivery are opening up in front of us. Sure, we all know that DVD sales are diminishing globally, but that is mostly because the traditional high–street DVD carriers are dropping dead before our eyes-and that’s unlikely to be through lack of people wanting to consume movies in some form or other. Lest we forget, the market for home video was worth some $18bn in 2012, 80 per cent of that still reflected in physical sales or rentals and an increase percentage wise on recent years. In the UK, however, Woolworths, Zavvi, Blockbuster and HMV-despite recent financial restructuring-are all now largely a thing of the past in regard to the financial importance they once represented to producers and distributors. This is as much an indication of the requirements and sophistication of the customer as it is of the decline of the DVD industry.
But that’s an aside. Going back to the studios, we must determine why they are currently making so few films, and why this provides such a glowing opportunity for the independent sector. The studios have always been, and will continue to be, geared for volume. They have massive output and turnover requirements and even when they start looking to cut back on staffing levels-as we have seen in recent months-they nonetheless strive to retain huge market share because that is what keeps them able to fulfil their worldwide TV output deals. Indeed, television remains the key profit centre for the majors. Global pay and free–to– air network sales are, in some respects, the studios’ best–kept secrets. Existing output deals with key partners such as HBO, Sky, Starz and their brethren continue to underpin most studios’ bottom line. New broadcast outlets largely maintain this hunger for studio–quality features and programming when looking to fill airtime and distinguish their offerings in the marketplace. Recent www.moviescopemag.com
insurgents in the sector, such as the near ubiquitous Netflix, further feed this demand with ongoing catalogue acquisition and renewal and now original production; see House of Cards and Hemlock Grove, etc. One only has to consider the recent acquisition of Disney’s first–run pay TV window by Netflix from Starz in the US, starting in 2015 at some $350m+ per year, to appreciate that no matter how things change they essentially remain the same - from a studio perspective at least! One Time–Warner corporate executive was recently quoted as saying that TV now provided at least 80 per cent of the conglomerate’s annual profits. Despite the vicissitudes of prevailing economic conditions, studios remain remarkably robust in their profit profiles and continue to adapt to the overall diminution of the once indomitable packaged goods business. They’ve achieved this by at once refining and rationalising their product offering-with a renewed focus on easily branded high–concept tent poles and micro– budgeted genre pictures-and effectively driving down above–the–line production costs and reliance on ‘star power’ whilst cultivating and engaging with new markets and distribution methodologies. To wit, they are actively licensing to new media platforms and outlets (Amazon, LoveFilm, Hulu, YouTube, etc.) with these licensing fees beginning to compensate for the offset in BD/DVD sales. Foreign revenues and yields also continue to grow despite a slowdown in domestic box–office results. The BRIC economies represent a significant part of this growth, with China in particular the focus of renewed distribution and co– production efforts. With the recent success in the Chinese market of mainstream action titles such as Looper and Skyfall and the unique Chinese variant release of Marvel’s Iron Man 3, this is only likely to be the start of the monetisation of this particular market by Hollywood. Similarly, VOD, SVOD and Digital Download are continuing to grow and beginning-just-to represent a significant revenue stream driven by an increasingly diverse range of delivery systems and technologies, studio willingness to be more flexible with their release windows and more effective marketing of the consumer proposition despite the continuing entrenchment of the exhibition community. Fox’s recent offering of Prometheus, Hitchcock and Taken 2 as branded hi–def digital downloads a month prior to their respective BD debuts is certainly a portent of a shift in corporate, if not yet audience, appetites. As is surely the recent appoint of Warner’s long–serving home entertainment and digital head Kevin Tsujihara to the position of company CEO, as the digital space looks to drive these revenue opportunities. Therefore in this financial landscape the studios’ emphasis has to remain clearly on www.moviescopemag.com
the massive–budget tent–pole movies required to feed their vast catalogues and act as a locomotive to lead sales from the front. The victim here is the once prevalent midrange film, the $15–30m movie that studios now seemingly perceive as an unnecessary distraction, rather than a cash cow element of their production activity going forward. And it is probably because of this that smart independent producers have started to customise their products to requirement. Studios are beginning to buy in third–party ‘commercial’ films, having now come to their collective senses and thankfully deserted the Sundance Film Festival driven buying frenzy of a few years back, when everyone had their own specialist ‘art-house’ acquisitions brands. Remember Warner Independent or Paramount Vantage? The switch to buying in more overtly commercial product, sometimes just for an indigenous territory, is a result of the emergence of the more accessible tastes of giants such as LoveFilm and the aforementioned Netflix, abetted by the VOD and PPV product providers and, lest we forget-eventually-profitable streaming. Technology is our friend and we must embrace it. It will eventually liberate independent production, and that day gets closer with the passing of every straight–to– Netflix TV product such as Arrested Development and Amazon’s forthcoming Zombieland TV spinoff. The majors and the mini–majors, such as E1, Lionsgate and their ilk, have this power base for blanket delivery. Thus they have superior market clout and, of course, vast infrastructures. But they need product to flow through them. Think about it; the big cash burn for these guys is the cost of the production itself. It can threaten their basic existence if it goes completely tits up. So, it makes sense to buy in selectively as a way of padding out that schedule. Another argument in favour of third–party acquisition is that a third–party producer is probably far better able to strike competitive deals to bring the movie to the screen in good order and at a price that makes sense. Being cynical, the profit margin probably exists in the excess that the studios would have to apply these days. What self– disrespecting supplier is going to offer Warners, Fox, Paramount, Universal or Sony a huge discount on a one–off transaction? Proof in point? Once again we are seeing fallen giants like MGM rising up to the new dawn of technology and getting the cheque book out to buy aggressively from the independent sector. None of us saw that coming a few years back. Yet, there is that old Lion growling out from screens again, and it’s good to see him back. So, does this distribution-pull rather than production-push mean we can all put the champagne on ice because we have the
Opposite: Hitchcock was released as a HD download a month before its BD release. Top: Iron Man 3 had a separate localised version for the Chinese market. Above: The highly anticipated return of Arrested Development is one of the growing number of series being produced by Netflix.
phone number of a senior exec at a studio who we happen to know needs a few movies to fill the multi–territory TV output machine he’s in charge of? Of course not; nothing in life is ever that simple. But it does highlight that ambition, ability, occasional opportunity and a little bit of luck can be a potent mix. We don’t need to point out that right now we stand in the rubble of the worst financial crash in living memory. Yet, the odd thing for the small business person is that the giants of our trade are hurting worse than anybody. That is both an opportunity and a risk. An opportunity because we can at last sell our products to them thanks to that economic restructuring and their need to take us seriously. And a risk because, well, if you stand next to a giant, they sometimes step on you by mistake... m Cannes 2013 |
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Company Profile
Cinema Management Group The California-based international sales company discuss the success they are having with independent animation.
With a lifelong career in international sales and distribution, including the one-time Sr. VP and Head of Sales at Miramax, Edward Noeltner has had his hand in many box– office successes including Oscar nominees such as Chicago, The Hours, Shine, Frida, Under the Sun, and more. However, with a list of accomplishments in his pocket, he decided to strike out on his own and create his own international sales company. “After having sold movies like that, you pretty much hit the apex of what you can do internationally for a company,” Noeltner notes. “So the next best thing is to start your own company and see if you can replicate the best of all the companies you worked for previously.” Born from that idea in 2004 was Cinema Management Group (CMG), which has created a strong legacy for itself not even a decade into its existence. When CMG was in its infancy, Noeltner’s college friend Michael Saltzman asked him to check out a film he was doing publicity for: the animated Hoodwinked!, an edgy, funny update to the classic Red Riding Hood story. “I thought they had a really terrific movie,” Noeltner remembers. “I thought for sure they’d be able to sell it without any problems. When that didn’t happen, I called them up and said, why don’t we work together on it.” Hoodwinked! became CMG’s maiden voyage and it hit right out of the gate: Noeltner sold the film to countless territories and the film 42
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“We’ve got a lot of great movies coming up for Cannes. We’ve got films by Academy Award nominated directors and wonderful animated material. Who wouldn’t love working here?”
made over $110 million at the worldwide box office. CMG was on its way. Having a hit right out of the gate proved that Noeltner was right in striking out on his own and that he and his company would know how to sell a film to the right distributor in the right market. “We have a pretty good track record,” he says. “With our longevity in the marketplace and by working with the same distributors multiple times, we know who is going to be the right fit for that film in Australia, the U.K., Germany, France, Italy, etc. If we’re doing an art house film, we know who is good for that. If we do a 3D animated film, we know who is good for that too.” Noeltner has seen the independent animation marketplace pick up drastically over the past decade. While at previous companies he could only sell certain animated titles to a handful of territories, the interest in animation has grown in such a way that it has changed the landscape of the market. “I think Hoodwinked! was the watershed independent animated film that showed you didn’t have to have a huge budget, but if you distribute it well and have a good marketing campaign, you can position a movie as an edgy, family crossover,” he says. “You can compete with Disney and so forth by having something original. That opened up the mindset of the distributors to say that here’s something cool; here’s something different.” Calculated risks are essential to achieving
success at the box office, and Noeltner credits a strong voice cast with being a large part of that. “It makes a difference,” he says, citing their film Khumba, which is screening at Cannes and features luminaries like Liam Neeson, Steve Buscemi, and Laurence Fishburne in voice roles. “Those are the kind of quality actors with name value recognition for the marketing,” he continues. “That tells the audience that these actors they like have put their time in on this film and it’s a great film.” Noeltner points out it’s the same in non– English–speaking markets, where great lengths are taken to get name casts in that language. To say that Noeltner is immensely satisfied with how CMG has made a place for itself in the industry is an understatement. With a strong upcoming slate, including Go For Sisters, written and directed by Oscar nominee John Sayles, he bet on himself and won. “Every day I love coming to the office,” he says. “We’ve got a lot of great movies coming up for Cannes. We’ve got films by Academy Award nominated directors and wonderful animated material like Saving Santa. Who wouldn’t love working here?” m Cannes Office: LERINS, Stand S15 Contact: Edward Noeltner, President at en@cinemamanagementgroup.com Dené Anderberg, VP Sales & Operations at cmg@cinemamanagementgroup.com For more information, visit www.cinemamanagementgroup.com www.moviescopemag.com
The National Film & Video Foundation (NFVF) Is a statutory body mandated by parliament to spearhead the development of the South African film industry. The NFVF does this by funding the development and production of South African film content including documentaries, administering the certification process of co-production treaties, funding local film festivals and attendance by our filmmakers to international film festivals and markets and running various training programs for the film industry.
National Film and Video Foundation Tel: +27 11 483 0880 Fax: +27 11 483 0881 info@nfvf.co.za www.nfvf.co.za
Territory Focus
Mexico Looks to the Future A combination of world-class incentives, dedicated infrastructure and diverse topography make Mexico the ideal choice for international film and television production. Located between the Gulf of Mexico on the east and the Pacific Ocean on the west, the United States to the north and Guatemala and Belize to the south, Mexico’s rich and diverse landscape has been a mecca for international film production for decades. Hundreds of films, across the full range of genres, have used Mexico as a central location, from W S Van Dyke’s adventure Trader Horn (1931) to Arnold Laven’s western Geronimo (1962), Paul Verhoeven’s sci–fi Total Recall (1990) to Steven Soderbergh’s two–part political biopic Che (2008). And Mexico’s enduring popularity is entirely unsurprising, given the wealth of opportunities that can be found in the country, from its rich and varied landscape and wealth of locations to its healthy incentives, solid and accessible infrastructure, first–class production and post–production facilities, talented and experienced crew, and reliable climate.
A new initiative available to productions shooting in Mexico is the Support Programme For High Impact Film and Audio-Visual Productions (ProAV).
Incentives Mexico has introduced a raft of different incentives, which are dependent on the type of production. In total, an impressive USD$70 million is allocated to film projects each year, financed by a combination of public and private funding. 44
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Top: Stunning architecture on display in Hidalgo Above: Filming at the Sumidero Canyon in Chiapas
In 2006, Mexico’s government introduced the Eficine 226 programme—more commonly known as simply 226—which allows for the setting up of a private capital fund for production. Under 226, any production cash that is contributed by private Mexican companies or individuals is defined as non–taxable income, so allowing these private bodies to write off 10 per cent of their tax, up to a maximum of 20 million pesos ($1.55 million). The incentive programme also benefits any foreign entities who are entering
into international co-productions with Mexican companies and will be shooting in the country. A maximum of 500 million pesos is granted in tax credits through this scheme each year. A new initiative available to productions shooting in Mexico is the Support Programme For High Impact Film and Audio–Visual Productions (ProAV), designed to support all productions—including animation, video games, broadcast and commercials—whose total spend in Mexico (including pre–production) is in excess of 40 million pesos, or 10 million www.moviescopemag.com
stop in toronto and start something big. The Toronto International Film Festival is where business happens. Last year, the TIFF Industry Office welcomed 4,280 delegates from 2,564 companies representing 81 countries, and saw 43 films sold, 32 of which found US distribution. We’re here to make your Festival a success. New this year, our new Conference Pass grants you professional access to conferences, events and venues, making your Festival even more inviting.
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™ /® Toronto International Film Festival Inc.
Territory Focus legislature in April 2009, filming permits for Mexico City can only come from the film commission.
Locations and Facilities
pesos of expenses in post-production and digital development. This grants an incentive of up to 17.5 per cent of applicable production expenses incurred in Mexico, including a cash refund of up to 7.5 per cent. If treated as an export product, the production would be able to get VAT returned for the same expenses. It should be noted that all film and video productions that are shot in Mexico, and whose primary audience will be found outside the country, are considered export products and are therefore exempt from VAT. This includes expenses incurred in the procurement of services provided by Mexican residents; for example, wardrobe and makeup, location fees, props, transportation of crew and equipment, accommodation and catering, etc. As a caveat, all expenses that qualify for 0 per cent VAT must be billed by one company, and that company will need authorization from the Mexican IRS (SAT) before invoicing the project. Further details of this, and all the above programmes can be found via the Mexican Film Commission (COMEFILM); more details below. Other funding options are also available to filmmakers, including the Fund for Quality Film Productions (FOPROCINE), which has been established to support the production of fictional features, documentaries and animations. While it is primarily aimed at Mexican filmmakers and production companies, foreign filmmakers can apply for funding, provided they have been living in Mexico for at least two years, and have been actively involved in the country’s film industry during that time. Additionally, the Film Investment and Stimulus Fund (FIDECINE) includes incentives for commercial and festival success; directors who recoup 100 per cent of financial assistance received during the making of 46
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Baja Studios is a selfcontained production facility built on 46 acres, which houses some of the world’s largest stages and water tanks.
their film are granted an equivalent amount to go on and make a second feature. FOPROCINE and FINDECINE funding cannot be combined with each other, but either can be combined with 226 support. In addition to these country–wide incentives, individual cities and states may offer further local incentives for projects shot in the area, including such things as accommodation and transportation for location scouts and discounts on some supporting services. Indeed, depending on the type of project, some states may even become production partners, providing investment by absorbing certain costs directly. In terms of actual production costs while shooting in the country, COMEFILM asserts that these are “very competitive… and significantly lower than in the USA, Canada or Europe.”
Infrastructure
Above: Shooting Roberto Girault’s El estuidante in Guanajuato
As part of the Mexican Film Institute (IMCINE), COMEFILM—under the new directorship of producer and former President of the Mexican Academy of Motion Picture Arts and Sciences Jorge Sanchez Sosa—assists all international producers wishing to shoot in any region of the country with everything from information gathering to the provision of relevant institutional contacts and permits. It supports the production of over 70 films a year, including international projects such as Neill Blomkamp’s Elysium (2013); Tom Gustafson’s Mariachi Gringo (2012); and Mexico/Canada co-production The Boy Who Smells Like Fish (2013), directed by Analeine Cal y Mayor. The country’s capital, Mexico City, has its own dedicated film commission, devoted to supporting those productions choosing to shoot in Mexico’s busiest urban hub. According to the Filming Law, passed by the state
Just a few hours flight from neighbouring USA, Mexico’s five regions and 32 states offer myriad location opportunities including desert landscapes, undisturbed beaches, nature reserves, colonial cities—many of which are now World Heritage sites— mountain ranges, jungles, archaeological sites and modern urban skylines. More than 85 per cent of the country’s film industry is based in Mexico City, which also houses the lion’s share of facilities including 20-plus stages, rental companies and other ancillary agencies. The country has two major film studios; Churubusco Azteca Studios, located in Mexico City, and the Baja Film Studios, located in Rosarito, Baja California. Inaugurated in 1945, Churubusco Azteca Studios is one of the oldest studio facilities in Latin America and has been controlled by the Mexican government since 1958. Despite its impressive legacy, the Studios are some of the most modern in the region, having been designed under the standards established by California’s THX Lucas Films. With stages, a chemical laboratory, digital post–production centre, re–recording, mixing and dubbing rooms, projection rooms (both digital and 35mm) and office and warehouse space, the studio attracts international productions of all sizes such as Tony Scott’s Man on Fire (2004) and Russell Mulcahy’s Resident Evil: Extinction (2006). Originally built in 1996 specifically for the production of James Cameron’s epic Titanic, Baja Studios is a self–contained production facility built on 46 acres, which houses some of the world’s largest stages and water tanks. It also boasts over 3,000 feet of ocean front overlooking the Pacific Ocean, along with a variety of scenery shops, dressing rooms, wardrobe facilities and production offices. Baja Studios has played host to a variety of productions, including the likes of J C Chandor’s All Is Lost (2012), Renny Harlin’s Deep Blue Sea and Peter Weir’s Master and Commander: The Far Side of the World, plus multiple television and commercial projects. m
Useful Contacts: Monserrat Sánchez Soler (Director of International Affairs) Mexican Film Institute (IMCINE) www.imcine.gob.mx Cannes Location, RIVIERA B6 Mexican Film Commission www.comefilm.gob.mx Mexico City Film Commission www.cfilma.cultura.df.gob.mx Film Friendly Mexico www.filmfriendlymexico.com www.moviescopemag.com
Featured Product Listings
For Full Details, Visit Cinado_Moviescope_210x67_Art1.indd 2
The listings below represent a small sample of the over 4,100 titles on offer at the 2013 Marche du Film. In some instances, credits and attendee details have been shortened to accommodate available space. A full breakdown of all Marche du Film exhibitors, including line-ups and product descriptions, can be found at www.CINANDO.com
6 SALES Cannes Office: RES. DU GRAND HOTEL, Albatros 2nd Floor Attending: Marina Fuentes (Partner), Mar Abadín (Head of Sales) On Offer: YOUNG ONES (Thriller / English / Production); MAGIC MAGIC (Thriller / English / Completed); HEART LAND (Sci-fi / English / Pre-Production) 7 & 7 PRODUCERS’ SALES SERVICE LTD Cannes Office: LERINS, Stand R1 Attending: Maura Ford (Managing Director), Antony Ford (Acquisitions Director) On Offer: PAPADOPOULOS & SONS (Comedy / English / Completed); COMMON PEOPLE (Comedy / English / Completed); BREAKDOWN (Thriller / English / Completed) 9ERS ENTERTAINMENT Cannes Office: RIVIERA, Stand E14 Attending: Suk-Joon Lee (CEO), Jae-Woo Kim (Manager of International Business) On Offer: EMPIRE OF THE ANTS (Action/ Adventure / English / Pre-Production); MISS CONSPIRATOR (Action/Adventure / Korean / Completed); HORNY FAMILY (Comedy / Korean / Completed) ANGEL & BEAR PRODUCTIONS LTD Cannes Office: PALAIS 01, Stand 20.02 / 22.01 Attending: Urs Brunner (CEO), Maleerat Thanaprachoom (Managing Director) On Offer: DEVIL MAY CALL (Thriller / English / Completed) ARCLIGHT FILMS Cannes Office: LERINS, Stand R2 Attending: Gary Hamilton (Co-Chairman / Managing Director), Ying Ye (MD, Easternlight Films), Clay Epstein (VP, Sales & Acquisitions), Lina Marrone (VP, International Sales) On Offer: LUCKY DOG (Family / Mandarin / Completed); WOLF CREEK 2 (Horror / English / Production); ENTITY (Horror / English / Completed) ARRI WORLDSALES Cannes Office: LERINS, Stand S9 Attending: Antonio Exacoustos (Head of World Sales), Moritz Hemminger (Director of Sales and Acquisitions), Josef Reidinger (Managing Director) On Offer: PLOE - YOU NEVER FLY ALONE (Animation / English / Pre-Production); THE LITTLE GHOST (Family/ German / Post-Production); THE DOMINO EFFECT (Drama / English, Dutch / Completed)
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ATOM CINEMA Cannes Office: PALAIS 01, Stand 26.02 Attending: Wei-Jan Liu (Managing Director), Josephine Chen (Assistant Managing Director), Desmond Yang (Head of International Sales & Aquisitions) On Offer: PARADISE IN SERVICE (Comedy / Mandarin / Pre-Production) BETA CINEMA Cannes Office: GRAND HOTEL, Bt.le Goeland (ground floor) Attending: Dirk Schuerhoff (Managing Director), Thorsten Ritter (EVP, Acquisitions Sales and Marketing), Tassilo Hallbauer (Sales Executive) On Offer: THE FAMOUS FIVE 2 (Children’s / German / Completed); OH BOY (Comedy / German / Completed); THE GIRL WITH NINE WIGS (Comedy / German / Completed) BLEIBERG ENTERTAINMENT LLC Cannes Office: LERINS, Stand S1 Attending: Ehud Bleiberg (Producer / CEO), Nick Donnermeyer (VP, Acquisitions & Development), Giulia Prenna (Worldwide Sales) On Offer: IN THE SHADOW (Thriller / Czech, German / Completed); BATTLE OF THE DAMNED (Action/Adventure / English / Completed); CHARM (Thriller / English / Completed) BREAKING GLASS PICTURES Cannes Office: RIVIERA, Marina Showroom - G17 Attending: Richard Wolff (CEO - President), Susan Helfrich (COO), Richard Ross (Co-President), Michael Repsch (VP, International Sales) On Offer: CHANGING THE GAME (Action/Adventure / English / Completed); CYRUS: THE COUNTY LINE CANNIBAL (Horror / English / Completed); ULTRASUEDE: IN SEARCH OF HALSTON (Documentary / English / Completed) BREAKTHROUGH ENTERTAINMENT INC. Cannes Office: RIVIERA, Marina Showroom - G17 Attending: Marina Cordoni (Vice President, Movies) On Offer: ANTISOCIAL (Horror / English / Completed); LOOKING IS THE ORIGINAL SIN (Drama / English / Completed); CUBICLE WARRIORS (Comedy / English / Completed)
CHINA 3D DIGITAL DISTRIBUTION LIMITED Cannes Office: RIVIERA, Stand B10 / B11 / C14 Attending: Stephen Junior Shiu (Director), Michelle Chen (Managing Director) On Offer: BAUHINIA HEROINE 3D (Action/Adventure / Cantonese / Pre-Production); SEX AND ZEN II 4D SEXECUTION (Erotic / Cantonese / Development); HONG KONG UNDERCOVER COP (Comedy / Cantonese / Development) CINEMA MANAGEMENT GROUP LLC Cannes Office: LERINS, Stand S15 Attending: Edward Noeltner (President), Dene Anderberg (VP, Sales & Operations), Agatha Altarovici (Head of Marketing & Publicity), Daniel Bort (Sales Executive) On Offer: A STRANGER IN PARADISE (Action/Adventure / English / PostProduction); GOODNIGHT MARILYN (Thriller / English / Pre-Production); P5YCH (Horror / English / Pre-Production); THE PRIME MINISTERS (Documentary / English / Post-Production); SAVING SANTA (Animation / English / Production); KHUMBA (3D Animation / English / Post-Production); STILL MINE (Drama / English / Completed); GO FOR SISTERS (Thriller / English / Completed); THE LEGEND OF SARILA (Animation / English, French / Completed) CINEMAVAULT Cannes Office: RIVIERA, Stand G7 / H10 Attending: Nick Stiliadis (Chairman / Founder), John Dunstan (Managing Director), Michaelangelo Masangkay (VP, Sales & Marketing) On Offer: CHOMP 3D (3D / English / Pre-Production); STRANDED (Thriller / English / Completed) CJ E&M CORPORATION / CJ ENTERTAINMENT Cannes Office: RIVIERA, Stand B17 / C20 Attending: Kini Kim (EV, Head of Int’l Sales & Distribution), Heejeon Kim (SVP, International Sales (Americas & Europe), Hyun-Joo Lee (Director, International Sales (Asia) On Offer: A WEDDING INVITATION (Drama / Cantonese / Completed); PORORO: THE RACING ADVENTURE (3D / English / Completed); FISTS OF LEGEND (Action/Adventure / Korean / Completed) DAISY & CINERGY ENTERTAINMENT Cannes Office: LERINS, Stand R16 Attending: William Kim (President), Jeremy Chin (General Director), Erica Nam (Sales Director), On Offer: THE TASTE OF MONEY (Erotic / Korean / Completed); DON’T CRY, MOMMY (Thriller / Korean / Completed); HORROR STORIES (Horror / Korean / Completed) DISTRIBUTION WORKSHOP Attending: Nansun Shi (Chairman ), Jeffrey Chan (CEO), Virginia Leung (Head of Sales) On Offer: WHITE HAIRED WITCH (Historical / Mandarin / Post-Production); CHRISTMAS ROSE (Drama / PostProduction); BENDS (Drama / Completed)
28/02/2012 11:30
ECHO BRIDGE ENTERTAINMENT Attending: Gilda Demirtas (Director of International Sales) On Offer: TASMANIAN DEVILS (Science-fiction / English / Completed); GHOST SHARK (Science-fiction / English / Post-Production); PARANORMAL INITIATION (Science-fiction / English / Completed) EDKO FILMS LTD Cannes Office: RIVIERA, Stand B10 / B11 / C14 Attending: William Chi Keung Kong (Executive Director), Audrey Lee (General Manager, Sales & Acquisitions) On Offer: TALES FROM THE DARK (Horror / Cantonese / Post-Production); FIRESTORM (Action/Adventure / Cantonese / Post-Production); COLD WAR (Action/ Adventure / Cantonese / Completed) EYE ON FILMS (EOF) Attending: Loic Magneron (General Manager) On Offer: HIDE YOUR SMILING FACES (Drama / English / Completed); MORNING STAR (Drama / French / Completed); LEFT OVER (Drama / French / Completed) FARABI CINEMA FOUNDATION Cannes Office: RIVIERA, Stand F11 / G10 / F13 / G12 Attending: Seyed Ahmad Miralaee Mirabadi (Managing Director), Hassan Najarian Dariany (Deputy MD), Mohammad Esfandiari (Sales, Acquisitions Executive) On Offer: OPERATION KINDERGARTEN (Children’s / Farsi / Completed); A CRADLE FOR MOTHER (Drama / Farsi / Completed); RECLAMATION (Historical / Farsi / Completed) FILM FACTORY ENTERTAINMENT Cannes Office: RIVIERA, Stand A5 Attending: Vicente Canales (Managing Director), Toni Oliete (Sales - Marketing Executive) On Offer: ANIMALS (Drama / English / Completed); FOOSBALL 3D (Animation / English / Post-Production); ZIP & ZAP AND THE MARBLE GANG (Family / English, Spanish / Post-Production) FILMS BOUTIQUE Cannes Office: RIVIERA, Stand E10 / E12 Attending: Jean Christophe Simon (CEO), Gabor Greiner (Acquisitions) On Offer: MORE THAN HONEY (Documentary / English, German / Completed); BECOMING TRAVIATA (Documentary / French / Completed); VIC+FLO SAW A BEAR (Drama / French-Canadian / Completed) FILMSHARKS INT’L Cannes Office: RIVIERA, Stand B19 Attending: Guido Rud (CEO / Founder), Florencia Gasparini Rey (International Sales) On Offer: 2+2 (Comedy / Spanish / Completed); RODENCIA AND THE PRINCESS TOOTH (3D / Spanish / Completed); THE NOBLE FAMILY (Comedy / Spanish / Completed)
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28/02/2012 11:30
FINECUT CO. LTD. Cannes Office: RIVIERA, Stand E9 / F12 Attending: Youngjoo Suh (CEO), Yunjeong KIM (Director of International Sales ), Luna H.y. Kim (Director of International Sales, Co-production) On Offer: MIRACLE IN CELL NO.7 (Drama / Korean / Completed); LOVE 911 (Romance / Korean / Completed); NOBODY’S DAUGHTER HAEWON (Drama / Korean / Completed) FLANDERS IMAGE Cannes Office: RIVIERA, Stand A2 Attending: Christian De Schutter (Manager), Nathalie Capiau (Deputy Promotion) On Offer: THE BROKEN CIRCLE BREAKDOWN (Drama / Dutch / Completed); 82 DAYS IN APRIL (Comedy / Dutch, English / Post-Production); MARINA (Drama / Dutch, Italian / Post-Production) FOCUS FEATURES INTERNATIONAL Attending: James Schamus (CEO, Focus Features), Andrew Karpen (President Focus Features, Focus Features Int’l), Jeb Brody (President – Production) On Offer: OCULUS (Horror / PostProduction); BLUE JASMINE (PostProduction); KILL THE MESSENGER (Drama / Pre-Production) FORESIGHT UNLIMITED Attending: Mark Damon (CEO), Tamara Birkemoe (President) On Offer: 2 GUNS (Action/Adventure / Post-Production); LONE SURVIVOR (Action/Adventure / Post-Production); AND SO IT GOES (Comedy / Pre-Production) FORTISSIMO FILMS Cannes Office: 5 Square Mérimée, (1st Floor) Attending: Nelleke Driessen (Managing Director), Nicole Mackey (Executive VP, International Sales), Winnie Lau (Executive VP, Sales & Acquisitions) On Offer: CAMERA (Thriller / Cantonese / Post-Production); BORGMAN (Drama / Dutch / Completed); MONSOON SHOOTOUT (Thriller / Hindi / Completed) FRIES FILMS, INC. Cannes Office: RIVIERA, Stand C5 Attending: Charles Fries (President / CEO), Alice Fries (Vice President) On Offer: DADDY’S LITTLE GIRL (Horror / English / Completed) GERMAN FILMS SERVICE & MARKETING GMBH Cannes Office: RIVIERA, Pavilion 125 Attending: Mariette Rissenbeek (Managing Director) On Offer: NEXT GENERATION SHORT TIGER 2013 (Animation / German, English / Completed) GFM FILMS Cannes Office: RES. DU GRAND HOTEL Attending: Guy Collins (Partner) On Offer: BB KING: THE LIFE OF RILEY (Documentary / English / Completed); THE WINTER QUEEN (Action/Adventure / English / Pre-Production); NEUROMANCER (Science-fiction / English / Pre-Production)
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GLOBAL SCREEN GMBH Cannes Office: RIVIERA, Stand H9 Attending: Dr. Rolf Moser (Managing Director), Dr. Thomas Weymar (Managing Director), Julia Weber (Head of Theatrical Sales), Klaus Rasmussen (Sales Manager Theatrical) On Offer: HANNI & NANNI 3 (Family / German / Production); FIVE YEARS (Drama / German, English / Completed); JESUS LOVES ME (Romance / Completed) GOALPOST FILM Cannes Office: RES. DU GRAND HOTEL, Entrance Flamant, 4th Floor Attending: Tristan Whalley (Managing Director), Jessie Mangum (Production Executive) On Offer: THE SAPPHIRES (Drama / English / Completed); SIX MILE BOTTOM (Drama / English / Development); THE TRIP TO ITALY (Comedy / English / Pre-Production) GOLDEN NETWORK ASIA LTD Cannes Office: RIVIERA, Stand E15 Attending: Carrie Wong (Managing Director), Clarence Tang (Head of Sales & Acquisitions) On Offer: JUST ANOTHER WATER MARGIN (Comedy / Mandarin, Cantonese / Completed); THE ADVENTURES OF JINBAO (Animation/ Mandarin, Cantonese / Completed); ROBOKICKS (Animation / English / Completed) HANWAY FILMS Cannes Office: RES. DU GRAY D’ALBION, 4 rue de Serbes Attending: Thorsten Schumacher (MD), Jan Spielhoff (COO), Claire TAYLOR (Director of Sales and Distribution), Chiara Gelardin (Director of International Sales)
On Offer: A LONG WAY DOWN (Black Comedy / English / Post-Production); ONLY LOVERS LEFT ALIVE (Drama / English / Post-Production); GOD HELP THE GIRL (Musical / Post-Production) HIGHLAND FILM GROUP Cannes Office: LERINS, Stand S16 Attending: Arianne Fraser (CEO ), Delphine Perrier (Head of International Sales), Maria Rogers (Director of International Sales) On Offer: ZOMBIE HUNTER (Action/ Adventure / English / Post-Production); HYPNOTIZE 3D (3D / English / PreProduction); THE CULLING (Thriller / English / Completed) INDEPENDENT Attending: Luc Roeg (CEO), Andrew Orr (Managing Director), Abigail Walsh (Head of Sales) On Offer: UWANTME2KILLHIM? (Thriller/ English / Post-Production); THE MOTEL LIFE (Drama / English / Completed); METRO MANILA (Thriller / Filipino / Completed) INDUSTRYWORKS Cannes Office: RIVIERA, B3 Attending: Evan Taylor (President), Caterina Scrivano (VP, Sales & Marketing) On Offer: AMERICAN MARY (Horror / English / Completed); TOXIN 3D (Thriller / English / Post-Production); RAGE (Thriller / English / Completed); COUNTERPUNCH (Action/Drama / English / Completed); THE VATICAN EXORCISMS (Documentary/Horror / English, Italian / Completed); THE INTERVIEW (Horror / English / Completed); BAD BUILDING (Horror / English / Completed)
Above: IndustryWorks’ American Mary
KALEIDOSCOPE FILM DISTRIBUTION LTD Cannes Office: LERINS, Stand S3 / S4 Attending: Spencer Pollard (CEO), Caroline Stern (Director of Int’l Sales, Acquisitions) On Offer: IKLLR (Thriller / English / Completed); MINE GAMES (Thriller / English / Completed); ANGEL OF THE SKIES (Historical / English / Completed) LAKESHORE ENTERTAINMENT Cannes Office: RES. DU GRAY D’ALBION, 3rd Floor - 12, La Croisette Attending: Eric Reid (CEO), Jason Buckley (Director, Int’l Sales) On Offer: WALK OF SHAME (Comedy / English / Post-Production); I, FRANKENSTEIN (Action/Adventure / Post-Production) LE PACTE Cannes Office: LERINS, Stand R17 Attending: Jean Labadie (CEO), Camille Neel (Head of International Sales) On Offer: RICH IS THE WOLF (Drama / French / Completed); THE NUN (Drama / French / Completed); BRIGHT DAYS AHEAD (Drama / French / Completed) LES FILMS DU LOSANGE Cannes Office: RIVIERA, Stand F7 Attending: Regine Vial (Head of Distribution), Agathe Valentin (Head of International Sales) On Offer: L’INCONNU DU LAC / Drama / French / Completed); GRIGRIS (Drama / French, Arabic / Completed); MICHAEL KOHLHAAS (Drama / French, German / Completed)
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LIGHTNING ENTERTAINMENT Cannes Office: LERINS, Stand R9 / S10 Attending: Robert Beaumont (President), Mathilde Epstein (VP, International Sales) On Offer: GUS (Comedy / English / Completed); CAVEMEN (Comedy / Comedy / Completed); THE OCCUPANTS (Thriller / English / Completed) M-LINE DISTRIBUTION Cannes Office: RIVIERA, Stand B13 / C16 Attending: Michelle Son (Managing Director), Jamie Seo (Manager), Rachel Joo (Manager) On Offer: PENGI AND SOMMI (Documentary / English / Completed); T-PANG RESCUE (Animation / Korean / Production); DEAR DOLPHIN (Drama / Korean / Completed) MAGNOLIA PICTURES & MAGNET RELEASING Attending: Eamonn Bowles (President), Peter Van Steemburg (Director of Acquisitions) On Offer: KISS OF THE DAMNED (Romance / English / Completed); TOUCHY FEELY (Drama/ English / Completed) MEDIA ASIA FILM Attending: Ricky TSE (General Manager, Sales & Distribution), Frederick TSUI (Assistant General Manager, Sales & Distribution), Vanessa LO (Manager, Sales & Distribution) On Offer: DRUG WAR (Mandarin / Completed); BLIND DETECTIVE (Crime / Cantonese / Completed); WILL YOU STILL LOVE ME TOMORROW? (Drama / Mandarin / Completed) MEGA-VISION PICTURES LIMITED Cannes Office: RIVIERA, Stand B10/B11/C14 Attending: Angela Wong (General Manager), Jennifer Sek (Distribution Executive) On Offer: YOUNG AND DANGEROUS: RELOADED (Action/Adventure / Cantonese / Completed); FROM VEGAS TO MACAU (Drama / Cantonese / Pre-Production); A SECRET BETWEEN US (Romance / Cantonese / Post-Production) MEXICAN FILM INSTITUTE (IMCINE) Cannes Office: RIVIERA, Stand B6 Attending: Jorge Sánchez-Sosa (Director General), Cristina Prado (Director of Cultural Film Affairs), Pablo Briseno (Head of International Sales) On Offer: NO PLACE IS FAR AWAY (Documentary / Spanish / Completed); FLOWER IN OTOMÍ (Documentary / Spanish / Completed); THE MAYOR (Documentary / Spanish / Completed); PURGATORIO, JOURNEY INTO THE HEART OF THE BORDER (Documentary / Spanish / Completed); THE ABSENT STONE (Documentary / Spanish / Completed); THE ENGINEER (Documentary / Spanish / Completed); EUFROSINA’S REVOLUTION (Documentary / Spanish / Completed); GIMME THE POWER (Documentary / Spanish / Completed); THE SHELTER (Documentary / Spanish / Completed) PARTS OF THE FAMILY (Documentary / Spanish / Completed); OPEN FIELD (Documentary / Spanish, English /
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Completed); THE ZEBRA (Comedy / Spanish / Completed); THE NAKED ROOM (Documentary / Spanish / Completed); AWAKENING DUST (Drama / Spanish / Completed); ROSARIO (Documentary / Spanish / Completed); SCARECROW (Documentary / Spanish / Completed); INERTIA (Drama / Spanish / Completed) THE MAN BEHIND THE MASK (Documentary / Spanish / Completed); THE LIFE AFTER (Drama / Spanish / Completed) MK2 S.A Attending: Nathanaël Karmitz (MD), Juliette Schrameck (Head of Sales & Acquisitions), Fionnuala Jamison (Intl Sales Executive) On Offer: A MONKEY ON MY SHOULDER (Drama / French, Spanish / Completed); KINSHASA KIDS (Drama / Lingala, French / Completed); HOTEL (Drama / Swedish / Post-Production) NATIONAL FILM & VIDEO FOUNDATION OF SOUTH AFRICA Cannes Office: VILLAGE INT’L RIVIERA, Pavilion 120 Attending: Zama Mkosi (CEO), Clarence Hamilton (Head of Development & Production Executive ), Azania Muendane (Head of Marketing and Public Affairs), Naomi Mokhele (Communications - Public Affairs Manager), Thandeka Fiona Zwana (Production and Development Executive) On Offer: THE PRINCE OF NEWTOWN (Documentary / English / Development); JAIVA TSOTSI (Documentary / English / Development); WOLWEDANS IN DIE SKEMER (Thriller / English / Completed); HEAR ME MOVE (Drama / English / Completed); WHIPLASH (Drama / English / Development); SATURN (Thriller / English / Development); A BUSHMAN ODYSSEY (Documentary / English / Completed); STATE OF EMERGENCY (Documentary / English / Completed); OF TROUSERS AND LITTLE SKIRTS (Documentary / English / Development); DOING THE WHITE MAN’S DAUGHTER (Documentary / English / Completed); ANGEL OF THE SKIES (Action/Adventure / English / Completed); FIVE FINGERS FOR MARSEILLES (Western / English / Completed); KHUMBA (Animation / English / Completed); KLEIN KAROO (Comedy / English / Completed); A LUCKY MAN (English / Completed); PRETVILLE (Musical / English / Completed); FANIE FOURIE’S LOBOLA (Romance / English / Completed); A SMALL TOWN CALLED DESCENT (Crime / English / Completed); DURBAN POISON (Crime / English / Completed); THE DEVIL’S LAIR (Documentary / English / Completed); PLOT FOR PEACE (Documentary / English / Completed); JIMMY IN PIENK (Comedy / English / Completed); THE SHORE BREAK (Documentary / French / Completed); GOG’HELEN (Crime / Zulu / Completed); BLACK SOUTH EASTER (Crime / Completed); SWEETHEART (Completed); BLITZ PATROLIE (Comedy / English / Completed)
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NU IMAGE / MILLENIUM FILMS Cannes Office: RIVIERA , Stand F1 Attending: Avi Lerner (Co-Chairman), Mark Gill (President Millennium Films), John Fremes (President of International Sales), Jeffrey Greenstein (VP, International Sales & Distribution) On Offer: AS I LAY DYING (Completed)
PROTAGONIST PICTURES Attending: Mike Goodridge (CEO), Nada Cirjanic (Dir of Sales), Dave Bishop (Dir of Sales) On Offer: THE SELFISH GIANT (English / Completed); HOW I LIVE NOW (Drama / English / Completed); STREETDANCE ALL STARS (Family / English / Completed)
ODIN’S EYE ENTERTAINMENT Cannes Office: LERINS, Stand R8 Attending: Michael Favelle (CEO), Ildi Toth Davy (Senior VP, Sales and Acquisitions) On Offer: TAPED (Thriller / Dutch, English / Completed); FORBIDDEN GROUND (Action/Adventure / English / PostProduction); STALLED (Comedy / English / Post-Production)
RAVEN BANNER ENTERTAINMENT Cannes Office: RIVIERA, Stand F10 Attending: Michael Paszt (Managing Partner), James Fler (Managing Partner) On Offer: MODUS ANOMALI (Horror / English / Completed); DEEP DARK CANYON (Thriller / English / Completed); THE MIDNIGHT GAME (Horror / English / Completed)
OTHER ANGLE PICTURES Attending: Laurence SchonbeRG (General Manager), Olivier Albou (President) On Offer: THE LAST DIAMOND (Thriller / French / Production); HIDDEN BEAUTIES (Drama / Tunisian / Completed); THE BIG BAD WOLF (Comedy / Completed)
RED SEA MEDIA INC. Cannes Office: LERINS, Stand R19 Attending: Roman Kopelevich (CEO), Tamara Nagahiro (Sales Associate) On Offer: THE EVOLUTION OF STEM CELL RESEARCH (Documentary / English / Completed); BLOOD SHED (Horror / English / Completed); LIFE TRACKER (Science-fiction / Completed)
PARK ENTERTAINMENT Cannes Office: LERINS, Stand R1 Attending: Jim Howell (CEO), Paul Howell (Sales Executive) On Offer: THE LAST OF THE GREAT APES (Documentary / English / PostProduction); FLY ME (Drama / English / Pre-Production); LAST TRAIN HOME (Horror / English / Pre-Production) PATHE INTERNATIONAL (FR) Attending: Muriel SAUZAY (Executive VP, Int’l Sales), Saya HUDDLESTON (VP, Int’l Sales) On Offer: AN ENEMY (Thriller / English / Post-Production); PHILOMENA (Drama / English / Post-Production); MANDELA (Drama / English / Post-Production) PREMIERE ENTERTAINMENT GROUP Cannes Office: LERINS, Stand R20 Attending: Elias Axume (CEO - Buyer), Ryan Noto (President), Jack Campbell (SVP, Sales & Acquisitions) On Offer: BETWEEN US (Drama / English / Completed); DARKROOM (Horror / English / Completed); HIGHLAND PARK (Comedy / English / Completed); IT’S A DISASTER (Comedy / English / Completed); SAVE THE DATE (Comedy / English / Completed); GUNS, GIRLS & GAMBLING (Action/Adventure / English / Completed); MIDDLE OF NOWHERE (Drama / English / Completed); THE OUTSIDER (Action/Adventure / English / Post-Production); PAPA (Drama / English / Production); AWOL (Action/Adventure / English / Pre-Production); CAN’T STAND LOSING YOU (Documentary / Completed); AFTERNOON DELIGHT (Comedy / English / Completed); SCENIC ROUTE (Thriller / English / Completed); ASS BACKWARDS (Action/ Adventure / English / Post-Production); HAIRBRAINED (Comedy / English / Post-Production)
SC FILMS INTERNATIONAL Cannes Office: La Brise, 3F, 24 La Croisette Attending: Simon Crowe (Managing Director), Fumie SuzukI (Sales / Marketing Director), On Offer: JUNGLE SHUFFLE (3D / English / Production); FLYING SOUTH (3D / English / Pre-Production); BULLET (Action/Adventure / English / Post-Production) SCREEN MEDIA Cannes Office: RIVIERA, Stand E21 Attending: Suzanne Blech (President Screen Media Films), Michael Dwyer (Vice President, Int’l Sales & Acquisitions), Almira Ravil (Senior VP, International Sales) On Offer: THE MONKEY’S PAW (Horror / Completed); 5 SENSES OF FEAR (Horror / Completed); SELF STORAGE (Horror / Completed) SHOWBOX / MEDIAPLEX, INC Cannes Office: LERINS, Stand R3 / S2 Attending: Judy Ahn (Head of Int’l Business), SoojinJung (VP, Int’l Business), Sonya Kim (General Manager, Int’l Business), Jeong Hun Ryu (CEO) On Offer: HWAYI (Action/Adventure / Korean / Production); KUNDO: AGE OF THE RAMPANT (Action/Adventure / Korean / Production); MR.GO (Drama / Korean, Mandarin / Post-Production) SIERRA / AFFINITY Attending: Nick Meyer (President / CEO), Marc Schaberg (CFO / COO), Jonathan Kier (EVP, International Sales), Kristen Figeroid (SVP, International Sales) On Offer: ENDER’S GAME (Sci-Fi / English / Post-Production); FILTH (Black comedy / English / Completed); EVIDENCE (Thriller / English / Completed)
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Panamá is a country bleeed by it’s geographical position, beautiful landscapes, cuuency, easy international transportation aaee, democracy and people. Thanks to aa this, we realized the economical, cultural and touristic potential the film making industry has in our country. This is why we have decided to give fuu suuort to our bllming industry with many financial incentives. We want to invite you to be part of our journey in becoming the world’s largest location set. Be in Puerto Rico, New Orleans, New Zealand, Thailand, Bora Bora, Ireland, Brazil, Japan, Tuscany, Bolivia, Cuba, Amazon, California, Jamaica, New York, Vancouver, Las Vegas, Dubai, Serengeti, Vietnam, New Delhi, Maine, Portugal, Mikonos, Melbourne, Caaes, Spain, Denver, Bangkok, Miami… Be in Panama.
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SOLA MEDIA GMBH Cannes Office: RIVIERA, Stand E8 Attending: Solveig Langeland (Managing Director), Tania Pinto Da Cunha (Sales) On Offer: 3D KNIGHT RUSTY (3D / English / Completed); 3D OTTO IS A RHINO (3D / English, Danish / Completed); A HORSE ON THE BALCONY (Family / German / Completed) STAR ALLIANCE MOVIES (HK) CO., LTD Cannes Office: RIVIERA Stand B8 Attending: Sheyong Hao (Managing Director), Lo-Chiu Angus Chan (Executive Producer) On Offer: THE CONSTABLE (Action/ Adventure / Cantonese / Completed); THE INCREDIBLE TRUTH (Horror / Cantonese, Mandarin / Completed); MONKEY: THE MASKED WARRIOR (Action/Adventure / Cantonese, Thai / Pre-Production) STUDIOCANAL Cannes Office: RIVIERA, Stand H5 Attending: Harold Van Lier (EVP, International Sales) On Offer: IN FEAR (Thriller / English / Completed); AFRICAN SAFARI 3D (Documentary / English / Completed); MOOD INDIGO (Romance / French / Completed) TERRA MATER FACTUAL STUDIOS Cannes Office: LERINS, Stand S13 Attending: Anthony Buckner (Sales Consultant), Walter Koehler (CEO) On Offer: HARODIM (Thriller / English / Completed); AMONG WOLVES (Drama / Spanish / Completed); BRAZIL - CARNIVAL (Documentary / English / Production) THE MATCH FACTORY Cannes Office: 40 Bd. de la Croisette Attending: Michael Weber (Managing Director / Buyer), Brigitte SUAREZ (Head of Sales) On Offer: AN EPISODE IN THE LIFE OF AN IRON PICKER (Drama / Bosnian / Completed); PRINCE AVALANCHE (Drama / English / Completed); THE CONGRESS (Drama / English / Completed) THE WORKS INTERNATIONAL Cannes Office: Apt. C12, Relais de la Reine Attending: Clare Crean (Head of Int’l Sales), Steven Bestwick (Sales and Acquisitions Executive) On Offer: 100 BLOODY ACRES (Horror / English / Completed); KELLY AND VICTOR (Drama / English / Completed) TIMELESS FILMS Cannes Office: VIEUX PORT Attending: Ralph Kamp (Chairman / CEO), Rebecca Kamp (Marketing Manager) On Offer: POSTMAN PAT: THE MOVIE (Animation / English / Production); THE LEGEND OF THE UNDERZOO (Animation / English / Pre-Production); JUSTIN AND THE KNIGHTS OF VALOUR (3D) (Animation / English / Completed)
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TOEI COMPANY, LTD Cannes Office: RIVIERA, Stand A13 Attending: Tadayuki Okubo (Manager International Sales and Acquisitions), Shiori Takata (Manager International Sales and Acquisitions), Daichi Yashiki (International Sales) On Offer: OSAMU TEZUKA’S BUDDHA 2 (Animation / Japanese / Production); A CHAIR ON THE PLAINS (Drama / Japanese / Completed); AIBOU: X-DAY (Action/Adventure / Japanese / Completed) TOHO CO., LTD. Cannes Office: RIVIERA, Stand A14 Attending: Yukio KOTAKI (General Manager), Takemasa ARITA (Sales Manager) On Offer: HIDAMARINO KANOJYO (Working Title) (Drama / Japanese / Post-Production); FRUITS OF FAITH (Drama / Japanese / Completed); A BOY CALLED H (Drama / Japanese / Completed) TOMCAT FILMS LLC Cannes Office: RIVIERA, Marina Showroom - G17 Attending: Ted Chalmers (President / CEO) On Offer: DISASTER WARS (Action/ Adventure / English / Production); THE CARETAKER (Horror / English / Completed); SKYPOCALYPSE: THE PHOENIX RISES (Science-fiction / English / Completed) TRUSTNORDISK Attending: Rikke ENNIS (CEO), Susan WENDT (Head of Sales) On Offer: NYMPHOMANIAC (Pre-sales) (Drama / English, Danish / PostProduction); THE KEEPER OF LOST CAUSES (Thriller / Danish / PostProduction); PIONEER (Thriller / English, Norwegian / Post-Production) UCONNECT Cannes Office: Villa Bernard, 35 la Croisette Attending: Peter Rogers (COO / Head of International Sales), Oi Leng LUI (Sales Manager) On Offer: RED OBSESSION (Documentary / English / Completed); THE BEST OFFER (Drama / English / Completed); FRANCES HA (Comedy / English / Completed) UTV MOTION PICTURES Cannes Office: PALAIS 01, Stand 22.02 / 24.01 Attending: Amrita Pandey (Executive Director, Syndication, International Distribution), Neha Kaul (Head, International Distribution, Studios) On Offer: BARFI! (Drama / Hindi / Production); BROTHERS FOR LIFE (Drama / Hindi / Completed); CHENNAI EXPRESS (Comedy / Hindi / Production) VISION FILMS Cannes Office: RIVIERA , Stand F3 Attending: Lise Romanoff (MD / CEO), Adam Wright (EVP, Sales & Acquisitions), Terese Linden Kohn (Sales Exec. / Consultant) On Offer: QUEEN: WILL ROCK YOU (Musical / English / Completed); TITANIC 100 YEARS ON: THE LEGEND OF THE UNSINKABLE FLOATING PALACE (Historical / English / Completed); FLIGHT OF THE MONARCH BUTTLERFLY (3D) (Documentary / English / Production); 12 DOGS OF CHRISTMAS II (Family /
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English / Completed); AMERICA’S SWEETHEARTS: QUEENS OF COUNTRY (Documentary / English / Completed); ONE DIRECTION, QUEEN, AMY WINEHOUSE, JUSTIN BIEBER, BEYONCE (Documentary / English / Completed); RUSHLIGHTS (Action/Adventure / English / Completed); THE GRIEF TOURIST (Drama / English / Completed); ASTRONAUT: THE LAST PUSH (Science-fiction / English / Completed); DARK HEARTS (Thriller / English / Completed); CRAZY KIND OF LOVE (Family / English / Completed); LES MISERABLES: THE HISTORY OF THE WORLD’S GREATEST STORY (Historical / English / Completed); ELF-MAN (Family / English / Completed); HENDRIX ON HENDRIX (Biography / English / Post-Production); LEAST AMONG SAINTS (Drama / English / Completed); ALLEGIANCE (Thriller/ English / Completed); THE ILLUSIONAUTS (Animation / English, Spanish / Completed); MADAGASCAR 3D (Animation / Post-Production); THE EMPLOYER (Thriller, Completed) VISIT FILMS Cannes Office: LERINS, Stand S8 Attending: Ryan Kampe (President), Lorna-Lee Sagebiel (Manager of Sales and Marketing) On Offer: FLEX IS KINGS (Documentary / English / Completed); A TEACHER (Drama / English / Completed); UPSTREAM COLOR (Thriller / English / Completed) VMI WORLDWIDE Cannes Office: RIVIERA, Stand G22 Attending: André Relis (President), Brittany Bowen (Vice President), Howard Brodsky (Director of Acquisitions / Development) On Offer: IMAGINAERUM (Fantasy / English / Completed); DUST OF WAR (Action/Adventure / English / Completed); GALLOWWALKERS (Action/Adventure / English / Completed) WIDE Cannes Office: RIVIERA, Stand E6 Attending: Loïc Magneron (President / Acquisitions Director), Chloe Jourdan (Festivals Manager & Acquisitions), Katia Khazak (International Sales & Acquisitions) On Offer: THE PRIEST’S CHILDREN (Comedy / Croatian / Completed); HIDE YOUR SMILING FACES (Drama / English / Completed); SHANGHAI BELLE (Erotic / English / Completed) WIDE HOUSE Cannes Office: RIVIERA, Stand E6 Attending: Anaïs Clanet (General Manager) On Offer: WORLDTURNER CIRCUS (Animation / Portuguese, English / Completed); EL MEDICO - THE CUBATON STORY (Documentary / Spanish / Completed); ELENA (Documentary / Brazilian / Completed) YELLOW AFFAIR OY Attending: Miira Paasilinna (CEO), Chris Howard (Sales and Marketing Manager) On Offer: WAYLANDS SONG (Thriller / English / Completed); THE ARBITER (Drama / English, Swedish / Completed); LISA LIMONE & MAROC ORANGE (Animation / Estonian, Italian / Completed)
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