CHICAS PRODUCTIONS: AFM

Venezuela has the largest proven oil reserves in the world. It was once so rich that Concorde used to fly from Caracas to Paris. But in the last three years its economy has collapsed. Hunger has gripped the nation for years. Now, it’s killing people and animals that are dying of starvation. The Venezuelan government knows, but won’t admit it!!! Four in five Venezuelans live in poverty. People queue for hours to buy food. Much of the time they go without. People are also dying from a lack of medicines. Inflation is at 82,766% and there are warnings it could exceed one million per cent by the end of this year. Venezuelans are trying to get out. The UN says 2.3 million people have fled the country - 7% of the population.

Showing posts with label AFM. Show all posts

Sunday, November 17, 2013

Film Subsidies Safe as Europe Backs Co-Production Friendly Regulations...

New regulations will allow for more state funding of cross-border productions and increased support for distribution costs.
Producers across Europe are rejoicing following new regulations, published Thursday (Nov. 14) by the European Commission, that will allow for greater state subsidies for European co-productions, multimedia projects and film distribution across Europe.

AFM: Why Germany Still MattersState Cash, Co-Productions Boost Ukrainian Film Output Private Film Fund Launches in Russia to Finance Co-ProductionsThe new Cinema Communication, which replaces rules set down in 2001, will allow producers of multi-territory co-productions to tap cross-border subsidies for up to 60 percent of the film's budget, up from 50 percent previously. State support for cinema distribution has also gotten the rubber stamp of approval from the Commission and co-productions can receive up to 60 percent of EU distribution costs from state coffers. So-called "difficult works" including short films, documentaries and films from first- or second-time directors, will be excluded from these upper limits.

In another concession to co-producers and the realities of making cross-border productions, the Commission clarified the rules regarding support for post-production, stating that, in principle, state aid "must not be reserved for specific parts of the production value chain" but that producers should be free to choose how and where they spend state film subsidies. This means a European country can not, for example, force a producer to do post production in their territory as a condition for receiving state subsidies.

The one glaring omission amongst the new regulations is subsidies for video games.

The Commission ruled that it had insufficient experience and data regarding European states' support of the local gaming industries to properly determine whether video games can be considered culture under EU law in the way that cinema is and thus allow similar forms of state subsidies for games.

STORY: European Commission Begins Final Consultation on Film Subsidies

"Although games represent a fast-growing sector, not all games necessarily qualify as audio-visual works or cultural products," the Commission said. "It would therefore be premature to integrate this sector...state aid measures supporting games will therefore continue to be assessed by the Commission on a case-by-case basis."

The new regulations were welcomed by national film industries across Europe. The British government and the British Film Institute said in a joint statement that in the U.K. alone, the film sector provides some 117,000 jobs and contributes over $7.3 billion (￡4.6 billion) to the national GDP annually.

"The UK film industry makes a valuable cultural contribution and is an important part of our diverse and dynamic economy," said Britain's Chancellor of the Exchequer George Osborne. "Through the film tax relief we have been able to support this highly skilled, innovative and creative sector and the European Commission's Cinema Communication will mean we can continue to provide that support."

In total, European governments spend around $2.8 billion (€2.1 billion) a year in various forms of direct cash support for European productions and a further $1.3 billion (€1 billion) in the form of targeted tax incentives.

Details of the new film regulations can be found on the European Commission website.

Thank you Variety

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AFM: Hype, Hope and Business as Usual with China as Part of the New Normal...

Deals steady, rather than spectacular. Money flowing into co-prods and property too
AFM Adjusts to Life After Focus Features Int'lThe Great Wall of Chinese money has not exactly washed away the American Film Market this week. Rather, it has seeped into every conversation and every deal permutation.

Chinese companies are attending the AFM in record numbers, according to market organizers. Certainly every restaurant and every Loews elevator seems to be 50% occupied by mainland Chinese.
But instead of making a quick grab for any title that moved, the Chinese are becoming more discerning and more multi-faceted.

"Everyone is here, that's certainly true. A lot of top producers have been in town with all the U.S.-China events this week, but so far the buying action has been nothing unusual," said Leslie Chen, IM Global China executive.

Trade may pick up by Monday, when more deals are expected to close. The deal of reference for several players may be the expected sale of Lionsgate's Johnny Depp project "Mortdecai."

Not only is Depp a big draw for Chinese audiences, Lionsgate has strong China connections and has the option to co-distribute in China if it does not get the price and terms it seeks. However, Lionsgate sources say they expect to complete a "Mortdecai" sales deal by the end of the market.

"Chinese buyers are now talking more about the quality of the project than the number of distribution slots," said Gary Hamilton, CEO of production-sales group Arclight Films. "It is really important to them that this is a global project, rather than something niche. The first three questions they ask are: `Who is in it?' `Who is distributing in the States' and `What's the budget?'"

David U. Lee of independent Chinese distributor Leeding Media says that the boost to the market that some sellers anticipated from last year's change to the import quotas — from 20 to 34 — has now peaked.

"The last market was overhyped. Prices are now flat or up only slightly, the big acceleration may be over," said Lee. "Actually the increase in quotas has made our (independently sourced) films less competitive. That's because we now have 14 more studio-level pictures per year coming into the country against us."

A slowdown or reality check may be a welcome change as the Chinese distribution scene is still very far from being a free market — there's the quota restrictions on the number of revenue-sharing films that can be imported, censorship that is liberalizing only slowly and direct government intervention in the releasing calendar designed to favor local films.

Still, the Chinese theatrical market has become simply too big to ignore. By the end of September, box office had equalled last year's 12-month total of $2.7 billion, putting it on course for a full year total worth $3.2 billion.

"In one significant way things are changing. Many of the Chinese firms here at AFM seem as interested in co-production as they do in outright acquisition," said Ying Ye, Hamilton's partner in Arclight's specialty Asian label, Easternlight. "We have licensed our John Cusack movie `Reclaim' but we will do `Priority Run' as a co-production. It is in pre-production with Donnie Yen set and a U.S. actor yet to be cast."

The Chinese partner is likely to have a say in who gets cast. Arclight/Easternlight already have Nicolas Cage actioner "Outcast" and thriller "The Nest 3D," which is in development, structured as Chinese co-ventures.

Still other insiders point out that filmmaking and buying is only part of the reason the Chinese are in L.A. "It's the money business, not the movie business," says one. "Many Chinese still have strong reasons to want to get money offshore and out of China."
Michael J. Werner, chairman of Fortissimo Films, said, "What are the Chinese buying? Properties in Beverly Hills."

After the show-stopping announcements by Chinese property and film group Wanda — last year it paid $2.3 billion for North American theater chain AMC, and in September this year called up a dozen Hollywood A-listers to celebrate its new studio facility-cum-yacht brokerage — China has become a more frequent port of call for U.S. movie companies.

"Actually we don't expect much buying here at AFM, all the big sales companies now will travel to China and speak directly to the distributors," said another source.

That's true of Lionsgate, Arclight and IM Global, which now all have China offices. They will be joined by Universal Pictures, which this week also announced it would set up permanently in Beijing.

Thank you Variety

AFM: Recent Box-Office Bombs Make Buyers Nervous...

Some are expecting a distinctly chilly American Film Market thanks to several films that recently have bombed or underperformed at the international box office (duds include Bill Condon's The Fifth Estate and The Mortal Instruments: City of Bones, while Ron Howard's Rush hasn't lived up to expectations), leaving buyers rightly nervous.

PHOTOS: 25 of Fall's Most Anticipated Movies
And just as foreign distributors prepared over the weekend for their journey to Los Angeles for AFM, which gets underway Wednesday and runs through Nov. 13, the big-budget film adaptation Ender's Game continued to do lackluster business offshore (it's faring better in North America).
To boot, international sales agents continue to fight over the same stars, making it difficult to close deals on projects at script stage. "In a way, we're reaping what we've sown," says The Solution Entertainment Group's Lisa Wilson. "There is a handful of actors and actresses whom we've made valuable, and we're all making the same offers to the same people."

Added another top sales agent: "I would say buyers are cautious and slightly disappointed. You hope that a lot of projects come in at the last minute, but it's not going to happen to the level everyone expected."

STORY: 5 Hot Indie Directors on Why Studios Don't Make Their Kinds of Films Anymore
Nevertheless, there are still enough high-profile projects to get buyers in the door. Good Universe's Elton John biopic Rocketman is generating sizeable interest, and the pop icon himself may make an appearance at AFM to personally plug the project. Another buzzed-about title is Voltage Pictures' Adam Sandler comedy The Cobbler.

Buyer Dylan Wiley, senior vp/general manager of Entertainment One Films U.S., says the continued advantage of coming in early on a project is that the finished film market is so competitive. "Distributors are willing to accept some execution and timing for more reasonably priced product purchased in advance at AFM and other film markets," he says.

In addition to touting new wares, sales agents will use AFM to update foreign distributors on projects they've already invested in, including Johnny Depp action-comedy Mortdecai, which David Koepp began shooting last month for Lionsgate and OddLot Entertainment. Lionsgate International is selling the film overseas. Radiant Films' Madame Bovary, starring Mia Wasikowska, also began shooting in recent days.

Thank you Hollywood Reporter

Thailand Bringing Film Industry Roadshow to Los Angeles...

The country's deputy prime minister and leading industry reps will host a symposium, business forum and networking party shortly before AFM gets underway.

Thailand is set to bring its first-ever film and animation industry roadshow to Los Angeles in the days leading up to the American Film Market.

Thailand's Oscar Submission 'Countdown' to Get U.S. Release

Stephen Chow Developing Film With Thai Studio GTH
The three-day event, aimed at promoting greater creative and business ties between the Thai and U.S. screen industries,1. It will be hosted by Thailand's Deputy Prime Minister and Minister of Commerce, Niwattumrong Boonsongpaisan, along with leading representatives from the Thai industry.
STORY: Thailand's Oscar Submission 'Countdown' to Get U.S. Release
Twenty Thai companies involved in film production, distribution, visual effects and animation will take part in the event in L.A. The three-day program will include a symposium, tours of Hollywood studios, company showcases and business matching sessions.
Participating film companies from Thailand include, the National Federation of Thai Film Associations, Amfine Production, Five Star Production, Kantana Post Production, Klongchai Pictures, M Pictures, M Thirty Nine, Right Content, Studio Aromdi, Sahamongkol Film International. The Thai animation companies making the trip to L.A. are Anya Animation, Creative Bean Studio, Imagimax, Lunch Box Studio, The Monk Studios, G Motif, Teapot Studio, Tomogram Studio, Vithita Animation, Yggdrazil Group.
The program will culminate with a costume Halloween party held at the JW Marriott Santa Monica Le Merigot Hotel, hosted by Princess Ubolratana Rajakanya of Thailand. During the party there will be a screening of new and classic Thai horror films, including Countdown, the smash hit Pee-Mak, Long Weekend, The House, Shutter, 3AM 3D, Art of the Devil I & II, Dorm, Alone, Heaven & Hell, I Miss You, The Coffin, 9-9-81, Ghost Day.

Thank you Hollywood Reporter

AFM: Indie Hits Fuel Optimism as 2013 Market Kicks Off...

The American Film Market kicks off Wednesday with a kind of cautious bullishness, following the relatively robust business at the Toronto Intl. Film Festival in September.

With 402 films scheduled to screen — including 321 market premieres and 75 world premieres — more than 8,000 buyers and industry professionals are expected to attend, including some 100 distributors, producers and executives repping more than 50 companies from the hot Chinese market.

With "The Hunger Games: Catching Fire" opening in two weeks and successes from indie-financed titles like "2 Guns," "Lee Daniels' The Butler," "Now You See Me," "Insidious Chapter 2" and "Olympus Has Fallen," AFM, which runs until Nov. 13, sees more ambitious slates from the indies at the beach mart.

The less-than-dazzling returns of indie-financed films such as "The Fifth Estate" and "The Mortal Instruments: City of Bones" has not deterred financiers from coming on board bigger budget projects.

In a move that underscored the growing clout of the independent sector, QED Intl. and Worldview Entertainment announced Nov. 1 that they would finance and produce the crime thriller "Term Life" — a few weeks after Universal Pictures had backed away from the project. Universal will simply handle U.S. distribution for the Vince Vaughn and Hailee Steinfeld starrer. QED will introduce the film at AFM to international buyers, joining a slate that includes Takashi Miike's Tom Hardy topliner "The Outsider," which is being produced and financed with Worldview; World War II actioner "Fury," starring Brad Pitt, and "Sabotage," starring Arnold Schwarzenegger, which are both directed by David Ayer; and Barry Levinson's "Rock the Kasbah," starring Bill Murray.

"It is our goal to identify high-caliber star-driven films," said John Friedberg, QED's exec VP of international sales. "We think that buyers are coming to AFM with money to spend. We're seeing new buyers in the U.K., China and Latin America. There's even been an upswing in Italy."

Marc Damon of Foresight Unlimited is similarly bullish, following a solid performance by "2 Guns" with $130 million worldwide. Budget was $85 million.

"With something like `2 Guns,' you do generate momentum," Damon said. "And it's helpful that we oversee the campaign so I have 36 different territories on my desk right now."

Last week, Foresight disclosed that it was in talks to bring on Spike Lee to direct Justin Timberlake starrer "Spinning Gold," a biopic about record exec Neil Bogart. It is set to update international buyers at AFM after beginning sales at Cannes.

Foresight Unlimited is one of a growing number of financing-sales-production entities that have emerged during the past decade. the hyper-competitive list includes QED, Worldview, Studiocanal, Voltage, Mister Smith, IM Global, Sierra/Affinity, FilmNation, Exclusive Media, the Solution Entertainment Group, Radiant and Hyde Park.

"We go over 100 to 150 projects a month," Damon said. "We fund development, pre-production, bank loans, oversee production and find the right U.S. distribution. The most difficult part of this is pulling all the pieces together."

That sentiment is echoed by Lisa Wilson at the Solution, now at its second AFM with "The Forger," "How to Make Love Like an Englishman" and a pair of Pierce Brosnan projects — potential franchise starter "November Man" and corporate thriller "The I.T. Man."

"I think we saw fewer packages over the summer," she said. "Buyers don't want to spend the time to read scripts if they're not part of a package. When something like `The Butler' does well, it gives people renewed faith."

Jere Hausfater of Aldamisa Intl., which is screening action thriller "Red Sky," starring Cam Gigandet and Rachael Leigh Cook, said buyers are much more discerning today.

"If you hit the bull's-eye, you can do very well," according to Hausfater. "The problem is that the bull's-eye keeps getting smaller."

Jonathan Wolf, AFM's managing director admits that he's bullish this year.

"One of our key measuring tools is how many participants — bankers, lawyers — are general attendees and that is up 15% this year," Wolf said. "We had 400 in 1998 and we are going to have 2,500 this year. This is a trade show so we have been building programs — just the same way that Disneyland keeps building rides."

The AFM started its conference program three years ago and it's launching a producers forum this year with anticipated attendance at about 300 for 16 sessions Saturday through Tuesday.

Thank you Variety

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American Film Market Considering Big Move From Santa Monica to Downtown L.A.

The move from the Loews hotel to the L.A. Live complex, which must be voted on by the IFTA board, would likely take place in 2013.

The annual American Film Market is exploring a move from Santa Monica to the L.A. Live complex in downtown Los Angeles, The Hollywood Reporter has learned.
The AFM, one of the world's largest film markets, is run by the Independent Film & Television Alliance. Its contract with the Loews Santa Monica Beach Hotel, which has been headquarters for the market, conference and screenings since 1991, ends after the 2012 event. Apparently the Loews asked for an increase in the rates it charges, which is part of the reason the AFM started to look at other options.

Sources tell THR that Anschutz Entertainment Group, which manages the L.A. Live complex, has stepped in with an offer at a much lower cost than the Loews bid. Loews is said to have made a counteroffer earlier this week to try and retain the nearly two-week-long event, which each fall attracts more than 8,000 people involved in the independent production and distribution of movies from over 70 countries. IFTA estimates more than $800 million in transactions are done at the market on both competed films and pre-sales of movies in development.
A spokesman for IFTA and the AFM declined to comment.

This year's event, scheduled to run Nov. 2-9, would not be affected, nor would the 2012 AFM likely be impacted. The 2013 event would likely be the first to move downtown, though a deal could possibly be worked out to move the 2012 event as well.
The IFTA board must still approve any move. Sources say the board is expected to discuss the proposal on Tuesday during a conference call.
IFTA, the nonprofit that organizes and runs the AFM, reported 2009 income of about $11.5 million (of which $8.2 million came from running the market), and total assets of over $22.5 million, according to tax filings.

Founded in 1981, the AFM was first held at the Westwood Marquis Hotel, moved to the Hyatt on Sunset Strip, then shifted in 1986 to the Beverly Hilton. During the five years it was held in Beverly Hills, market screenings were mostly held at the Beverly Center.
When it moved to Santa Monica, the AFM helped launch the then-new Loews, as well as the city's Third Street Promenade, where last year nearly two dozen screens were used to show about 400 market movies at area theaters.

As it has grown over the years, some events have been farmed out to other hotels and restaurants in the area. In recent years, that has included the Le Merigot Beach Hotel, run by Marriott, which is next door to the Loews. Many of the conference events have been held at the nearby Fairmont Miramar Hotel. IFTA announced in June that the Miramar will be the site this fall for a new five-day AFM Conference Series (Nov. 4-8). It includes finance, production, marketing and distribution conferences, as well as an event where people pitch ideas for movies.
While the beachside Santa Monica location has strong appeal to international visitors, there are also issues of traffic, congestion and the high cost of retail and restaurants. Still, there is said to be some opposition to a move downtown from foreign participants who like the Westside location and are mostly unfamiliar with the urban areas of L.A.

In addition, since 2004, the AFM has had a relationship to the AFI Fest, put on by the American Film Institute. Most screenings for the festival are held at movie theaters in Hollywood, primarily those around the Hollywood & Highland complex, far away from the Santa Monica-based AFM. A move downtown would close the distance gap between AFM and AFI, which would be connected by L.A's subway system. The AFI Fest is not expected to move downtown, however.
AEG has been aggressive about trying to lure events to L.A. Live. The Independent Spirit Awards moved form their traditional Santa Monica beach location downtown for a year, but then moved back to the beach.
L.A. Live, which is adjacent to the Los Angeles Convention Center, has more than 5.6 million square feet of ballrooms, bars, restaurants, concert theaters, a condo tower and two large hotels in one tower. The sales suites could be in the hotels or they could be in the adjacent convention center.
There also is an 879-room JW Marriott Hotel on floors 4 through 21 and a 123-room Ritz Carlton Hotel on floors 22 through 26.
For screenings, the complex includes a multiplex operated by the Regal Entertainment Group. It has 14 screens and 3,772 seats and a three-story art deco style atrium. One theater, known as the Regal Premiere House, which has 806 seats, has been marketed for movie premieres but so far has had only limited success in attracting Hollywood downtown.
L.A. Live also includes the Nokia Theater (7,100 seats) and Club Nokia (2,300 seats), most often used as a venue for live music.
Most recently, AEG has been promoting plans to build a new stadium on the site to be called Farmers Field. It is intended to be home to a NFL football team. The LA City Council has tentatively approved the plan, but it has many hurdles ahead before it will actually be built, a process that could take years more.

Thank you Hollywood Reporter

Have a great day ☼

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American Film Market Announces Conference Details..

FM reveals partial lineup details relating to its five-day conference in Santa Monica taking place in November.

Looking to expand and improve on its conference programming, the American Film Market will present a five-day conference program during the 2011 market covering finance, production, marketing, distribution and pitching program and movie ideas.

'Beast' rears head at AFM
'Difficult market decisions' at AFM

The market, expected to attract about 8,000 attendees, takes place Nov. 2 through 9 in Santa Monica, and the conference will run simultaneously. The AFM is also introducing a "Industry Conversations" program which organizers promise will be "led by visionaries, trendsetters and experts."

Jonathan Wolf, executive vice president of the Independent Film & Television Alliance and managing director of the AFM called the new conferences significant initiative and said they will add value for attendees, adding: "The AFM is unique as it's the only event in North America that attracts thousands of leaders in motion pictures from more than 70 countries, giving us the opportunity to curate terrific conferences with top talent from both Hollywood and around the world.

Friday, Nov. 4 – Finance Conference - CEOs, filmmakers, financiers and studio executives converge to explore the current state of independent film financing: emerging trends, where the money is, new opportunities and incentives, and what the future holds.

Saturday, Nov. 5 – Pitch Conference - A good pitch can get a bad film made and a bad pitch can leave a terrific project languishing on the shelf. Pitching is part art (it's creative), part science (needs to follow a tight script) and part salesmanship. Conference attendees will learn the essential rules and tools of pitching from the experts. Then, in the AFM's own variation of The Voice and American Idol, volunteers from the audience (you?) will pitch a panel of Hollywood decision makers who will give unvarnished feedback on each pitch – saying what worked, what didn't and why. Warning: This session is not for the weak.

Sunday, Nov. 6 – Marketing Conference - In the age of digital media, word-of-mouth and friend recommendations can make or break the box office results. Connecting with and engaging the audience in authentic, creative ways is critical. The gurus behind the most successful and innovative marketing campaigns discuss reinventing the marketing wheel, explore how the consumer can be the most effective marketing tool and reveal how to win over the broadest possible audience.

Monday, Nov. 7 – Production Conference - Brand integration and packaging often play an important role in the filmmaking process. From big-budget blockbusters to art and genre films, the creative visions of directors, writers and producers are being supported, yet challenged, by these new business models and opportunities. Agents, advertisers and producers disclose what is going on behind the scenes and how to seamlessly incorporate these new decision makers into the production process.

Tuesday, Nov. 8 – Distribution Conference - Why make a film if no one will see it? Industry leaders disclose their successful strategies for managing and monetizing the proliferation of global platforms and changing release strategies. They will also separate fact and fiction about limited & specialized releases, film festivals and straight-to-VOD.

Thank you Hollywood Reporter