New trends in film distribution: experiential, global, digital, promotional

From Imax premieres to early home entertainment debuts or day-and-date release, independents and now studios are rewriting the rules of how they movies to the consumer market, with mixed results. Compelling television programming and an endless selection of online content are making it tougher than ever either to get eyeballs into theaters. Despite the value chain is still strictly connected to the theatrical release, monetizing the other windows and increase the ancillary revenue streams is key. Therefore it’s increasingly imperative to seek the right business model that maximizes the potential of each movie.

'The Walk' started with a limited Imax release.
‘The Walk’ started with a limited Imax release.

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It is about time for a #DigitalSingleMarket in #Europe

Europe is finally waking up and realizing that in order for the digital market to flourish, barriers need to be demolished. If European Union was created for the free circulation of men and goods, one cannot understand why it is not so in the digital space.

The plan to create a Digital Single Market within the 28 EU countries has been unveiled, with the goal of “bringing down barriers to unlock online opportunities”. Continue reading “It is about time for a #DigitalSingleMarket in #Europe”

Me and Earl and the Dying Girl, sleeper film for this Summer

Greg (Thomas Mann), a high school senior who is trying to blend in anonymously, avoids deeper relationships as a survival strategy for navigating the social minefield that is teenage life. He even describes his constant companion Earl (RJ Cyler), with whom he makes short film parodies of classic movies, as more of a ‘co-worker’ than a best friend. But when Greg’s mom (Connie Britton) insists he spend time with Rachel (Olivia Cooke) – a girl in his class who has just been diagnosed with cancer – he slowly discovers how worthwhile the true bonds of friendship can be.

Me & Earl & the Dying Girl is an upcoming American comedy-drama film, rated PG-13, directed by Alfonso Gomez-Rejon (Glee, American Horror Story) and written by Jesse Andrews, based on Andrews’ 2012 debut novel of the same name, which sold more than 7 million copies. It stars Thomas Mann, Olivia Cooke (Ouija) and Jon Bernthal (Fury, The Wolf of Wall Street, The Walking Dead) and premiered at the 2015 Sundance Film Festival to a standing ovation (http://variety.com/2015/film/festivals/sundance-film-review-me-and-earl-and-the-dying-girl-1201414455/). The production budget was about $5.6 million. Continue reading “Me and Earl and the Dying Girl, sleeper film for this Summer”

#CinemaCon2015 showcases great slates and stunning technologies

During the annual conference organized by the National Association of Theater Owners (NATO) and held at Caesar’s Palace in Las Vegas, the major Studios have as usual showcased their upcoming slates.

Not so usual however is the caliber and market potential of the movies, from Paramount‘s Summer 2015 star driven releases Mission: Impossible – Rogue Nation and Terminator Genisys presented directly by Arnold and Tom, to Warner Bros‘s big event movies such as Mad Max: Fury Road, San Andreas, Black Mass, Point Break, Entourage, and of course Batman v Superman: Dawn of Justice.

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Tom Cruise presents the new chapter of the Ethan Hunt’s saga.

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Fancy a negative pickup?

Superman, The Empire Strikes Back, Never Say Never Again and Lone Survivor. What do these films have in common?

They were all financed and distributed according to a negative pickup arrangement. Even Terry Gilliam’s Brazil, a negative pickup for Universal Pictures produced by Arnon Milchan: in this particular case, the studio had creative disagreements with the director over choice of star, content, and duration, and failed to resolve these issues to its satisfaction, because the negative pickup had essentially granted Milchan final cut.

The negative pickup is a type of film financing arrangement, an interparty agreement in which the parties involved are bank, completion guarantor, producer, and distributor, usually bank financed with the collateral being a Distribution Agreement from a trusted and creditworthy Distributor or Studio then owning distribution rights upon delivery of a completed film negative by a stipulated date and in accordance with the terms of the agreement, where the pickup price shall include cost of budget (which has to include a completion bond which premium usually amounts 3-5% of the production budget and contingency), cost of interest, origination fee, bank and legal expenses.

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Superman (1978)

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