Building sustainable film businesses: the challenges for industry
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- Bu səhifədəki naviqasiya:
- Section 7.0 l State of the markets Figure 4
- Section 7.0 l State of the markets Figure 5
- Total 86,222 114,759 32.9
- Crowd funding
- Online communities
Section 7.0 Figure 4 US box office gross 2011 Rank Title Studio Total gross (US$) 01
Harry Potter and the Deathly Hallows WB
381,011,219 02
Transformers: Dark Side of the Moon P/DW
352,390,543 03
The Twilight Saga: Breaking Dawn Part 1 Sum
281,287,133 04
The Hangover Part II WB
254,464,305 05
Pirates of the Caribbean: On Stranger Tides BV
241,071,802 06
Fast Five Uni
209,837,675 07
Mission Impossible: Ghost Protocol Par
209,081,660 08
Cars 2 BV
191,452,396 09
Sherlock Holmes: A Game of Shadows WB
186,770,428 10
Thor Par
181,030,624 11
Rise of the Planet of the Apes Fox
176,760,185 12
Captain America: The First Avenger Par
176,654,505 13
The Help BV
169,708,112 14
Bridesmaids Uni
169,106,725 15
Kung Fu Panda 2 P/DW
165,249,063 16
Puss In Boots P/DW
149,260,504 17
X-Men: First Class Fox
146,408,305 18
Rio Fox
143,619,809 19
The Smurfs Sony
142,614,158 20
Alvin and the Chipmunks: Chipwrecked Fox
132,046,038 Source: Box Office Mojo Building sustainable film businesses: the challenges for industry and government 29
7.5 Public source funding European state film funding has undergone massive re-assessment and reform as a result of the global economic crisis. In most of Europe, funding will continue to be restricted for the foreseeable future, as core government services place increasing demands on limited public funds. For example, The Netherlands Film Fund has had its government support cut by 25% while Hungary’s Motion Picture Public Foundation of Hungary (MMKA) had its 2011 budget cut by 80%. Other countries outside Europe have, though, injected fresh money into their film funding systems. In March 2012 The National Film Development Corporation of Malaysia (FINAS) launched a 30% film production rebate as part of its Transformation of the Film Industry programme. Singapore has completely overhauled its myriad film funding schemes, trying to streamline its previous offer which had 14 different schemes for film alone. Brazil’s state-managed film investment schemes, the Funcines, increased their investment by 30% year on year to €80 million in 2010. So while Europe state film funders in many cases have their hands tied by the wider economic crisis, countries further afield continue to realise the value of a healthy film industry. Section 7.0 l
Figure 5 Filmed entertainment revenues by country/region 2010-2015 Country/region 2010 revenue (US$) 2015 revenue (US$) % increase China
1,969 6,254
217.6 India
1,855 3,095
66.8 Russia
1,533 2,547
66.1 Brazil
1,368 2,070
51.3 Other Latin America 559 799
42.9 Spain
1,158 1,638
41.5 Other Central and Eastern Europe 898 1,239
38.0 Mexico
1,146 1,566
36.6 Australia 3,622 4,810
32.8 USA
35,200 45,686
29.8 Middle East/Africa 570 733
28.6 Other Asia Pacific 3,129 3,984
27.3 UK
5,809 7,364
26.8 South Korea 1,541 1,941
26.0 Italy
2,057 2,552
24.1 France
3,805 4,683
23.1 Canada
3,770 4,641
23.1 Germany
3,528 4,241
20.2 Other Western Europe 5,031 5,984
18.9 Japan
7,674 8,932
16.4 Total 86,222 114,759 32.9 Source: PricewaterhouseCoopers, Global Entertainment and Media Outlook 2011-2015, June 2011 Building sustainable film businesses: the challenges for industry and government 30
8.1 Understanding today’s audiences for film The internet has created the possibility for independent producers to reach out to end-users directly, for funding and marketing their films. Crowd funding This is a method of raising money through numerous micro-investments made via the internet and it has already seeped in to traditional film finance. For example, Iron Sky, the Nazi science- fiction parody raised €6.3 million of its €7.6 million budget through traditional film funding channels including the Finnish Film Foundation, Eurimages, Screen Queensland, and pre-sales. However, an additional €756,743 came through individual online fan donations. Meanwhile Kickstarter, the US crowd funding website, estimates it will distribute over €114 million dollars to its users’ projects in 2012. One third of all money raised through Kickstarter goes towards film projects including features, shorts and documentaries. Thirty one films playing at this year’s South by Southwest Festival in Austin, Texas were funded by Kickstarter donations, over 10% of those playing. Seventeen Kickstarter-funded films also played at this year’s Sundance Film Festival. Kickstarter’s most ambitious project to date has been Blue Like Jazz, based on Donald Miller’s New York Times bestseller, which has raised $346,000 through crowd funding. In both cases the sums involved are too small for most independent production companies but as the internet becomes even more pervasive, crowd funding could become another useful tool for film producers. Online communities Of course where the internet has had its biggest impact is how films are released. The debate over whether people would watch films on small screens via mobile phones and tablet computers now seems quaint. Internet retailers such as iTunes, Netflix and LoveFilm have all enjoyed huge success streaming movies to portable devices. Amazon-owned UK film service LoveFilm announced in March 2012 that the number of films and TV programmes streamed over the web via laptops, connected televisions and games consoles was 20% higher than the number of Blu-ray discs and games rented. Other niche film online streaming services such as documentary VOD services are also picking up steam. Dogwoof.tv aims to have 10,000 subscribers by end-2012 14 .
Consumers expect to be able to watch films anytime and anywhere they want to on internet- enabled devices. As other platforms have shown in the past, exclusivity becomes the driver for attracting new subscribers to these online VOD services. In time, as with traditional pay-tv in the past, services may have to fund production up front to secure content further down the line. Where the internet is having the biggest impact today though for independent producers is reaching out to their audiences directly. The Blair Witch Project (1999) was the first feature to harness the internet to create a fanbase. Today many producers identify the particular demographic their film is aimed at and target likely cinemagoers through Twitter and Facebook. How digital innovations are changing the film business world Section 8.0 Building sustainable film businesses: the challenges for industry and government 31 14. Interview, Andy Whitaker, CEO Dogwoof, April 18 2012 Yüklə 4,58 Mb. Dostları ilə paylaş:
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