CHICAS PRODUCTIONS: London

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 London. Show all posts

Friday, October 12, 2012

Europe boosts film tourism...

EuroScreen launches new website
By ROBERT MITCHELL

LONDON -- EuroScreen, a three-year Euros1.9 billion ($2.5 billion) cross-European film tourism initiative, launched its new website Tuesday.

The project, funded by the Interregional Cooperation Program (INTERREG IVC), has been created to improve policies between the production sector and tourism industry across eight European markets: U.K., Spain, Italy, Malta, Poland, Romania, Slovenia and Sweden.

Scheduled to run until 2014, EuroScreen will deliver research and data to improve the effectiveness of policies between the screen and tourism sectors, with the aim of achieving greater economic and cultural benefits for both.

Among other materials, the new EuroScreen website (www.euroscreen.org.uk) will offer visitors access to information about the latest news and developments in screen tourism, and provides downloadable policy material and other publications emerging from the project.

The U.K.'s Film London is the official lead partner for the initiative, working with international partners including the Apulia Film Commission in Italy, Bucharest -- Ilfov Regional Development Agency in Romania, FTZ -- Fondazzjoni Temi Zamit in Malta, RARR -- Rzeszow Regional Development Agency in Poland, the Municipality of Ystad and Lund University, Department of Service Management in Sweden, Maribor Development Agency in Slovenia and Pro Malaga -- Local Public Agency for Economic Development in Malaga, Spain.

The INTERREG IVC program is financed by the European Union's Regional Development Fund to help different areas of Europe to work together and to share experience and good practice in the areas of innovation, the knowledge economy, the environment and risk prevention.

Thank you Variety

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Busan 2012: Chinese Indies Struggle to Go Global...

Despite no shortage of quality content, independent filmmakers still rely on overseas sales companies for international exposure.

Boasting a wide array of entries at BIFF this year – including films by Zhang Yuan, Wang Ping, Lou Ye and Emily Tang, among others – independent Chinese filmmakers have again shown themselves to be a force in global cinema.

Pluto (Myungwangsung): Busan Review

But there's a missing link there: most, if not all, of these directors are heavily reliant on international sales companies to bring their work onto the global stage.
"It's true there aren't that many important strong Asian sales companies – and there is almost none in China, where you mostly have companies selling their own films," said Isabelle Glachant, the long-time Beijing-based French producer of Wang Xiaoshuai's films through her Chinese Shadows shingle. "You don't have a [Chinese equivalent of] Film Distribution or Celluloid Dream or Finecut; you have Huayi Brothers selling their own films."

STORY: Can Korean Film Go Global on Psy's Coattails?
In mainland China, Glachant said, the norm – in the mainstream, at least – is for vertically integrated companies to handle production, distribution and sales, as well as agents of actors.

"It totally makes sense for Bona or Huayi, but outside of those top five companies, when you're outside their slots, what can you do? The ones who do best in selling arthouse films are Europeans, the exception being [Hong Kong's] Fortissimo and [South Korea's] Finecut."

Indeed, Fortissimo is attending to Zhang's Beijing Flickers, Wang's An End to Killing (which counts among its co-producers Japan's Satoru Iseki and Korea's Jooick Lee) and Zhang Yang's Full Circle, despite its financing by China Film Group. Another Hong Kong-based outfit, PAD International, is marketing Tang's All Apologies, Peng Tao's The Cremator and Li Ruijun's Fly with the Crane. France's Wild Bunch, meanwhile, is pushing Lou's Mystery.

While it's true that the same situation is present for indie productions in the region – the films of Thailand's Palme d'Or winner, Apichatpong Weerasethakul, are also sold by European companies, Glachant pointed out – the mainland Chinese scenario is peculiar, given the widely-documented abundance of "soft money" accorded to directors in the country today.

While Glachant admitted the dependence on foreign sales companies might be perceived as a visible weakness for mainland Chinese indie filmmakers, she said what they need the most is advice on how to tailor scripts and editing for audiences beyond their home country.
"It's fine to make a Chinese film, but you have to be careful that it's the way cinema [language] is used outside China. It's a problem if foreign audiences don't get into the emotion of the film."

Thank you Hollywood Reporter

Creative England to Invest $1.56 million in Digital Companies...

Article from Aug 2012

The British regional funding giant will pump the cash into small and medium sized companies to support digital fiction projects for the BBC and Channel 4.

LONDON – U.K. regional government-backed funding agency Creative England will pump £1 million ($1.56 million) into the digital creative sector with its latest round of funding into the so-called Digital Fiction Factory (DFF).

Creative England Opens $796,000 Fund for Applications

Creative England Launches Two Funds For Regional Filmmaking Grants

The cash will be distributed to support small and medium sized companies across the North of England to develop new digital fiction formats, meaning TV-like content for online and mobile platforms, for the BBC and Channel 4.

Described by Creative England's business development director Jim Farmery as a "21st century production and development center," the DFF is billed as a "creative partnership between Conker Media, the BBC, Channel 4 and Creative England."

The arrangement marks one of the first creative commissioning partnerships between the two U.K. broadcasters.

Creative England, founded in 2011, is an organization that provides funding support to independent film, TV and other creative businesses in all regions of England except for London. It is backed by regional governments.

Funding packages of between £10,000 ($15,600) and £150,000 ($234,571) will be posted to companies to develop proof-of-concepts and prototypes, which may be taken on to full production by either of the partner broadcasters.

The cash boost follows the recent plans for Creative England's $1.56 million business investment fund and marks the second strand to be made available through Creative England's £5 million ($7.8 million) Regional Growth Fund awarded to stimulate jobs and growth within the digital and creative sectors.

BBC North director Peter Salmon said: "The Digital Fiction Factory was originally created between the BBC and Conker Media to create a pan-industry partnership to find new ways to engage with the audience in the digital space. Following Channel 4's recent membership we are delighted that Creative England is now joining and that one of the first companies to benefit is a Newcastle-based digital company" named Riff Raff.

Channel 4 head of online Richard Davidson-Houston said: "It's great that Creative England has seen the potential and is joining in."
So far, 244 businesses are already part of the DFF network.

Thank you Hollywood Reporter :)

U.K. Freesat TV Venture to Offer Paid-For Content

The satellite TV venture of the BBC and ITV is launching a VOD service called Free Time.

LONDON - Freesat, the U.K. satellite TV joint venture of the BBC and commercial broadcaster ITV, said Tuesday that it will launch a VOD service called Free Time and is looking to add paid-for film, TV and music content offers from partners yet to be announced.

Netflix, Amazon.com's LoveFilm, Vevo and BSkyB's Now TV are possible partners for those offers.
On-demand TV programming via the BBC iPlayer and the ITV Player is coming to the service and will be followed by on-demand content from Channel 4 and Channel 5. Users will be able to scroll through the electronic programming guide to watch past shows up to eight days after they aired.

The service will be available via a new set top box, which will cost £279 ($443) and be available later this month.

"TV is a simple pleasure that technology can make even better, not more complicated," said Emma Scott, managing director of Freesat. "We want to help viewers find something great to watch the minute they sit down, so they can spend less time searching and more time watching the TV they love."

Freesat was launched in 2008 as a free-to-air offer to rival pay TV giant BSkyB, in which Rupert Murdoch's News Corp. owns a 39 percent stake. Freesat currently has signed 2.6 million customers.

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More info: www.hollywoodreporter.com
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8K Ultra High Def TV Format Opens Options for TV Viewing...

With UHDTV standards in place, broadcasters are getting ready to tackle new challenges.

The administrations of the International Telecommunication Union recently agreed on two levels of Ultra High Definition Television (UHDTV), making it officially a worldwide standard. This means more consumer options are on the horizon—and a lot more work needs to be done in the broadcast world should it choose to pursue this new TV system.

London 2012: Experimental 8K Television System Set to Debut

NHK Research Arm To Be Honored by Broadcasters
Adoption of a new standard means that UHDTV overcame a key hurdle, yet it's just one step in a lengthy and complex process when it comes to changing a television system—just consider the challenges of the transition from standard definition to HDTV.

STORY: London 2012: Experimental 8K Television System Set to Debut

With the recent decision, technology manufacturers can now "go ahead and make equipment knowing the standards debate is over," said the European Broadcasting Union's technical deputy director David Wood, who chairs the ITU working group that drafted the UHDTV recommendation.

There are two "levels" of UHDTV, and while they are not resolution-specific, you could effectively think of level one as one that supports 4K, the resolution that digital cinema is currently moving towards; and level 2, which effectively supports 8K resolution, or 16 times more picture information than HD.

For level one, some 4K displays from leading set manufacturers have already been unveiled, as well as some 4K production technology including Sony's F65 4K digital cinematography camera.

STORY: 8K Ultra High Def TV Format Developed by Japan's NHK set to be Next Global Standard

The majority of attention on level two is coming from Japanese public broadcaster NHK, which is developing a level two-ready 8K UHDTV system called Super Hi-Vision.

NHK, BBC and Olympic Broadcast Services teamed up for a test and demonstration of Super Hi-Vision during the recent London Olympics. NHK hopes to start test broadcasts of Super Hi-Vision in Japan by 2020.

Broadcasting level one would be easier than level two because the required bit rate is much lower. Wood reported that Korea has plans in place to begin test broadcasts of level one next year. Still, he cautioned that change will not be overnight.

Consumers of course have a growing number of content delivery options, and Wood told The Hollywood Reporter that he views "availability of suitable displays [and] when will they create public demand" as a "critical factor" to when a potential transition might begin to occur.

He also noted that a tough decision would be whether broadcasters would look to start a transition with level one or move immediately to adopt level two. Wood told THR that many broadcasters view the move from HD to 8K as perhaps too great and thinks it is prudent to start with 4K. But NHK, he related, doesn't see an advantage in shifting to 4K and then making a second jump to 8K.

The ramifications of the UHDTV decision will be addressed next month at the IBC (International Broadcasting Convention), Sept. 6-11 in Amsterdam. Also during IBC, NHK's research arm will be presented the IBC's highest recognition, the International Honor for Excellence.

UHDTV will also be discussed in Hollywood during the upcoming Society of Motion Picture and Television Engineers annual conference. During the event, slated from October 22-25, NHK researchers are scheduled to present an update on their developing Super Hi-Vision system.

Thank you Hollywood Reporter

Social Media Research Firm Fizziology Launches in U.K....

The company will provide information on U.K. buzz to entertainment companies and brands.

LONDON - Social media research firm Fizziology has launched a research arm for the U.K. to provide new geographically-focused information on social media buzz to entertainment companies and brands.

The company uses sentiment analysis to track audience opinions on a movie or TV shows based on what people share on Twitter, Facebook and blogs. Based on its work, it also provides box office predictions, advertising analysis, guidance on casting decisions and other things.

While social media trackers typically collect global data, Fizziology uses a three-layer language and geo-location approach to capture only U.K. social media conversations. "Fizziology is able to deliver U.K.-based intelligence to help studios, networks and brands better determine how to craft their marketing strategies for the U.K. without the noise of additional markets," the company said.

It plans to launch similar services in other international markets as well.

"Every market is a little different," explained Ben Carlson, president and co-creator of Fizziology, the need for geographically targeted data. "Different characters and storylines or lines pop in different markets. And some programming only airs in one. This gives us the ability to parse it and provide a much truer look for decision makers who are making or marketing the show."

The company provided a recent example of a show that ended its season in the U.S., while it was still in full swing in Britain.

"For example, when analyzing conversation around a TV show like The Newsroom, we can determine which social media conversations are taking place amongst the U.S. audience versus those that occurred in the U.K.," said Jen Handley, COO and co-creator of Fizziology. "With the trend towards same-day international release dates for movies and television shows, the ability to know whether a certain conversation trend is coming from the U.K. or another audience becomes even more important."

She said British social media conversations about The Newsroom focused more on the relationships between characters than in the U.S., for example, which TV network marketers could use to tailor their marketing messages.

"In addition to being able to better measure U.K. social media buzz from a data perspective, we are focused on providing understanding and intelligence tailored to the U.K. market," said Carlson. He said the coding of social media conversations is being handled by people in the U.K. who can pick up regional cultural references and analyze phrases that may be lost on U.S. researchers.

Thank you Hollywood Reporter

Third-quarter audience trends have been "disappointing" so far for U.K

"Disappointing" recent audience trends should improve in the fourth quarter, and lower ratings for the return of "X Factor" "may build" as the season continues, UBS says though.

LONDON - Third-quarter audience trends have been "disappointing" so far for U.K. commercial broadcaster ITV amid the BBC's strong ratings for its coverage of the Summer Olympics, UBS analyst Tamsin Garrity said Monday in lowering her full-year 2012 and 2013 advertising revenue forecast for the company.

Olympics 2012: BBC Reaches Biggest Average Audience With Closing Ceremony
"Audience has been disappointing through the third quarter, though ITV has a strong programming slate for the fourth quarter," she said in a research report.

For 2012, the analyst lowered her advertising revenue estimate for ITV to growth of 0.5 percent, down from 2.5 percent previously, but still ahead of the consensus expectation for no change. For 2013, she expects no gain, down from her previous projection of 1.5 percent growth, "although this is offset by better interest and tax," which should help profitability, Garrity said.

The UBS analyst also said that ratings for ITV should improve in the fourth quarter, and lower ratings for this weekend's return of Simon Cowell's X Factor "may build" as the season continues.
"ITV management stated it is confident audience share will be stronger in the fourth quarter," Garrity wrote. "On the weekend, ITV proceeded with the return of the X Factor and a rejuvenated Red or Black; initial viewing was low at 8 million (last year 11 million), however this may build." And she highlighted that other returning shows over the near-term include Downton Abbey.

Jefferies analyst Will Smith said X Factor "is very visible, so people take note," even though most analysts don't spend much time on individual shows.

"It sounds like September is tracking a bit better than expected on ad spend," Smith said though.
Garrity echoed that. Announcing its latest results last month, ITV said that ad revenue in September will come in between unchanged from 2011 to down 5 percent, leaving the first nine months of 2012 unchanged. "Media buyers think this is slightly pessimistic," she said.

Thank you Hollywood Reporter

More info:www.hollywoodreporter.com

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Irish Film & Television Academy (IFTA) Sets Up IFTA London...

Jim Sheridan, Ken Loach and Dearbhla Walsh attend soiree to herald fresh networking opportunities.

Comcast, NBC Uni sign deal with IFTA
The Irish Film & Television Academy (IFTA) is setting up IFTA London, aiming to birth a creative network between the Irish and U.K. film and television industries.

STORY: IFTA Unveils Production Conference Theme, Lineup

And to launch the fresh network, the Irish did what they do best: IFTA hosted an evening reception at the British Academy of Film And Television Arts' London HQ on Piccadilly.
IFTA Chief Executive Áine Moriarty told the gathered luminaries from both sides of the Irish Sea that there is "a great spirit of partnership, business and cultural links, between Ireland and the U.K." making the two "more than just neighbors."
STORY: Rachel Weisz, Jude Law and Anthony Hopkins ' '360' to Open London Film Festival
"The IFTA London initiative aims to help build a new network for the film & television communities," Moriarty said.

The IFTA London soiree had the backing of the Irish Film Board also whose chief executive James Hickey said the new umbrella network would be "a great opportunity for Irish talent to come together with key industry people from Ireland and the U.K. to network and develop strong working relationships."

Guests at the reception included directors Jim Sheridan, Ken Loach and Emmy winning Irish director Dearbhla Walsh.

As part of the IFTA London initiative, the Irish Academy also unveiled details of its planned roll-out of events in the British capital which will include a Jim Sheridan season to include a masterclass and retrospective of the Oscar nominated director's work.

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BSkyB Told to Loosen Grip on Hollywood Studio Pay-TV Deals...

Satcaster's deals with the six majors means rival subscription services are failing to compete.

LONDON – U.K. satcaster BSkyB is facing a call to loosen its pay-TV grip on films made by the Hollywood majors following an investigation by the Competition Commission here.

BSkyB agrees to deal with pay TV rivals

British Prime Minister Denies Involvement in News Corp.'s BSkyB Bid
T
he Commission said Friday BSkyB's deals for the first subscription pay-TV window with "the six major Hollywood studios" means other competitors, such as BT and Virgin Media, cannot compete for rights properly.

The industry watchdog noted that while BSkyB does supply its movie channels to "some other pay-TV retailers," it found that that "has not these retailers to compete effectively with Sky for movie channel subscribers."

"Due to the importance of being able to see recent movies to many pay-TV subscribers, Sky's control over the FSPTW movie rights of the major studios, and therefore over the movie channels incorporating this content, contributes to a lack of effective competition in the overall pay-TV retail market," the Competition Commission's report states.

BSkyB's deals for the first pay window means the satellite provider enjoys exclusivity on an array of high profile Hollywood fair for 15 months. It means output from Universal, Walt Disney, 20th Century Fox, Paramount, Dreamworks and Warner Brothers are on Sky first in the pay-TV window.

Upcoming high profile films to be offered exclusively on Sky include Tron Legacy, Shrek Forever After and Sex and the City 2.

The Competition Commission has invited industry and public reaction to a series of recommendations to help loosen Sky's grip on the market.

The first recommendation is to restrict Sky from signing exclusive deals with the six majors in the first subscription pay television window.
Loosening the grip would mean rival operators could buy the rights to other distribution methods, including video on demand.

"Sky has had control of recent movie content on pay TV for many years. At the heart of the problem is Sky's strong position in the pay-TV market, with twice as many subscribers to pay TV as all other traditional pay-TV retailers put together. This provides Sky with a great advantage when it comes to bidding for movie rights, which no rival bidder has yet been able to overcome – and, if things stay as they are, we see no likely prospect of change," Competition Commission movies on pay-TV investigation chairperson Laura Carstensen said.

Carstensen also noted that providing new movie releases enabled Sky "to attract more pay-TV subscribers than its rivals and having more subscribers increases further its advantages when bidding in the next round for pay-TV movie rights, and so it goes on."

Added Carstenen: "Recent movie content is important to many pay-TV subscribers. As a result, Sky's control of this content on pay TV enables it to attract more pay-TV subscribers than its rivals and having more subscribers increases further its advantages when bidding in the next round for pay-TV movie rights, and so it goes on."

The satellite broadcaster spends north of £250 million ($412 million) per year on buying films, more than its budget for Sky News and other entertainment channels.

Under recommendations put forward by the Competition Commission, BT and Virgin Media would be able to rival Sky Movies by offering their own selection of new releases.
BSkyB issued a statement noting the announcement of provisional findings by the Competition Commission in its movies on pay-TV market investigation.

"BSkyB continues to believe that no regulatory intervention is required and that consumers benefit from high levels of choice, value and innovation across a wide range of providers," BSkyB said. "We note that the CC's findings remain provisional and have been issued for consultation. We will continue to engage with the CC during the ongoing regulatory process."
The Competition Commission is scheduled to publish a final decisino in August 2012 after consultation on its provisional findings.

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London Riots Spark Fears for Entertainment Businesses...

Civil unrest dominates British news programs.
LONDON – Entertainment attractions, cinemas and London's West End theaters will all be holding their collective breath to see if the civil unrest, looting and rioting of the past two nights spread to the heart of the British capital.
The localized rioting in the North London borough of Tottenham Saturday evening in the wake of a vigil outside a police station for the death of local resident Mark Duggan, shot by police, sparked looting in other hotspots across the capital including an attempt to loot shops at Oxford Circus, in the heart of the West End.
The riots and political fallout from the unrest – which included the early return from vacation of the U.K. government's home secretary Theresa May to deal with the growing concerns among the public, politicians and police alike – were enough to knock all other news down the media agenda ladder.
Sky News, the BBC, ITV and other television news bulletins led with the tales of looting and rioting in the British capital, while on the radio it led the agenda for most of Monday, knocking the ongoing phone-hacking fallout at News Corp and the financial debt crisis causing global stock market turmoil off the top.
Buildings in Tottenham had been set alight as well as police cars and buses Saturday night and further violence subsequently erupted in Brixton in South London before violence erupted in Hackney in East London late Monday afternoon and Lewisham town centre.
Many of the reports in the media noted the huge use of social media such as BBM and Twitter by the looters to communicate with one another in coordinating civil unrest.
But it remains business as usual for the cinemas, theaters and other entertainment attractions with no reports of forced closures amid fears that the violence, looting and property damage may spread.
A spokesperson for the Cinema Exhibitors Association, the trade body repping movie theater operators across the capital, told The Hollywood Reporter it was not policy to advise its membership on what to do in such a situation.
The CEA noted it will put any members in touch with the Metropolitan Police Force for advise and it would be up to its membership -- Odeon Cinemas, Cineworld and Vue Entertainment included -- to put into force any contingency plans to deal with the situation.
After the July 7 London bombings in 2005, the cinemas refused to close in a bid to present a British stiff upper lip attitude to the terror attack.
But this time, with riot police, dog patrols and a Metropolitan Police pledge to put more visible cops on the beat in the coming nights, it will remain to be seen if punters continue to visit cinemas, theaters and entertainment attractions.
It being the height of the summer, industry observers think London's summer population of tourists will help keep numbers buoyant.

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Sundance London Film Fest to Kick Off in 2012...

"It is our mutual goal to bring to the U.K. the very best in current American independent cinema," Robert Redford says of the joint effort between AEG Europe and the Sundance Institute.
Robert Redford is taking the Sundance brand to London, launching a new film and arts festival that will debut in April 2012.
He's not going it alone. The Sundance Institute is teaming with AEG Europe to stage Sundance London, a four-day event that will be held in the city's sprawling O2 entertainment district.
The inaugural edition of Sundance London will be held April 26-29th, 2012, three months after the Sundance Film Festival in Park City, Utah.
Sundance London will include screenings of titles from the 2012 Sundance Film Festival, live music performances, panels and other cultural programming. AEG owns The O2 venue.
"We are excited to partner with AEG Europe to bring a particular slice of American culture to life in the inspired setting of The O2, and in this city of such rich cultural history," Redford said in announcing the event.
"It is our mutual goal to bring to the U.K., the very best in current American independent cinema, to introduce the artists responsible for it, and in essence help build a picture of our country that is broadly reflective of the diversity of voices not always seen in our cultural exports," he continued.
Located in South East London, The O2 includes an indoor arena -- known as the O2 Dome -- a music club, a cinema, an exhibition space, bars and restaurants. It was built largely within the former Millennium Dome.
The Sundance Institute will curate the film component of the new festival, while AEG Europe will use its industry-leading venue and marketing teams to stage and promote music and other related events.
AEG Europe senior executive director Alex Hill said Sundance London is a natural extension of the music and sporting events held at The O2 since the venue opened in 2007.
"We look forward to extending a warm welcome to the best of the film industry in 2012," Hill said.
In Los Angeles, Sundance Institute executive director Keri Putnam said the organization looks forward to bringing "the most exciting American films from the 2012 Sundance Film Festival" to London.
For years, Redford has bandied about the idea of expanding Sundance's reach. Since its launch in 1978, the annual Sundance Film Festival has become the largest showcase for indie films in the U.S.

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Friday, October 12, 2012

Europe boosts film tourism...

Busan 2012: Chinese Indies Struggle to Go Global...

Creative England to Invest $1.56 million in Digital Companies...

Saturday, September 8, 2012

U.K. Freesat TV Venture to Offer Paid-For Content

8K Ultra High Def TV Format Opens Options for TV Viewing...

Social Media Research Firm Fizziology Launches in U.K....

Thursday, August 23, 2012

Third-quarter audience trends have been "disappointing" so far for U.K

Friday, September 9, 2011

Irish Film & Television Academy (IFTA) Sets Up IFTA London...

Saturday, August 27, 2011

BSkyB Told to Loosen Grip on Hollywood Studio Pay-TV Deals...

Saturday, August 13, 2011

London Riots Spark Fears for Entertainment Businesses...

Wednesday, March 23, 2011

Sundance London Film Fest to Kick Off in 2012...