no shit

“Outside of Korea […] film funds have had a few false starts across the rest of Asia.”

“Although Asia is extremely prolific, there is still a lack of emphasis on development, which leads to the film funds’ biggest problem. Although they aim to facilitate slate financing, slates have been in short supply.”

“”It’s important the people involved are strong in distribution because it’s no longer good enough to make a good film – it’s all about the opening weekend,” says Shi.” (Shi is Japanese?)

“…the booming South Asian film industry is also shifting its focus towards slate financing and long-term strategic thinking.”

Screen Daily ~ Asian Film Finance 2008 – Asian film funds (01.10.2009)

“Economic motivation to create employment, coupled with a cultural policy to develop national cinema, spurred the government to create several film funds through the Small and Medium Business Corporation (SBC) and the Korean Film Council (KOFIC).”

“The film industry needs to develop an investment analysis system, and overhaul the profit-sharing structure for film funds to be attractive to non-strategic partners.”

“It’s not as if there are so many good scripts but no money.”

“The axis of the market is moving away from just trying to add to your local slate or produce for shareholders and towards investing in good, solid content.”

Screen Daily ~ Asian Film Finance 2008 – Korea opportunities (01.10.2009)

“It is estimated the majority of South Korea’s film-making workforce are currently either unemployed or working in related sectors such as TV or advertising.”

“In Singapore we’re developing media from the economic benefits perspective, but also to promote cultural diversity – a two-pronged initiative.”

“Hong Kong has always been more focused on the commercial aspect of film-making.”

“In Thailand […] international film-makers have benefited from low costs and experienced crews for decades”

“Thailand is already competitive in terms of logistics and costs.”

“the Japanese market remains insular as local producers can recoup at home and there is little interest in attracting offshore production.”

“Due to its proactive government and transparent banking and legal infrastructure, Singapore is fast emerging as Asia’s leading film-financing hub.”

“throwing funds at the industry isn’t the best way to grow it.”

Screen Daily ~ Asian Film Finance 2008 – Asia opens up (01.10.2009)

“It was only in 2002 that the government began to grant licences enabling private companies to produce films independently. Prior to that, they had to work with the state-owned studios.”

“Last year marked another milestone – the first entry of private equity into the film business”

“Now past the start-up stage, [China's private film studios] are hungry for capital to enable them to expand.”

“[China’s] box office […] has quadrupled to $459m in five years.”

“China’s banks […] started lending to film companies around three years ago”

“Many companies in the industry, including the leading ones such as Huayi Brothers and Polybona, still need to improve their business process management. This is the main reason many investors hesitate.”

“Censorship, piracy and the lack of a film rating system make it difficult to even produce or release in the market, let alone get an accurate picture of profitability.”

“I optimistically believe the issue of DVD piracy in China will be solved in three to five years, as the DVD business will decline. Internet and video-on-demand will bring more income for film–companies.”

“To attract more private equity into the film businesses, Wang believes three factors will play a crucial role. First, an increase in multiplexes will push forward movie-going and neighbouring retail businesses. Second, on the production side, there should be continuing growth in the supply of films. Third, film companies should work with new-media firms to explore new revenue models.”

“The best way for the government to help the industry is to ease restrictions and let the market make the best evaluation”

Screen Daily ~ Asian Film Finance 2008 – Ventures into China (01.10.2009)

“In a region awash with equity, where film-makers and banks eye each other with caution, it is not surprising the Asian film industry does not use debt financing to a great degree.”

Screen Daily ~ Asian Film Finance 2008 – Debt Financing (01.10.2009)

“Among the truisms that infect film-business thinking, two have endured longer than most. First, when making movies, always spend someone else’s money. And, second, cinema is as close to recession-proof as it gets: when money’s tight, there is nothing quite like a darkened movie house to provide a cheap, diversionary fix.”

“co-finance equity investors are not the studios’ ‘partners’ at all… they’re prey”

“They [European film financiers] see in the recent worldwide box office takings of The Dark Knight, and the phenomenal success in France of the €10m Bienvenue chez les Ch’tis (€130m in revenues and counting) evidence not of a persistent appetite for cinema-going, but of growing discrimination on the part of ticket-buyers.”

“Most of Europe’s independent film industry is dependent on television underpinning its funding. Over the last few years, with broadcasters suffering acute market share fragmentation due to new competitors, TV licence fees have dropped. Worse still, many non-studio, non-quota films simply don’t get bought. With a recession hitting TV advertising, these problems will only be exacerbated. So traditional sources of indie film financing will likely be hit even harder. What gives the myth some credence, however, is that film is cheaper than other forms of entertainment including videogames and restaurants. If you look at supermarkets, special offers are doing well and so are the luxury items. Sales of beef fillet have gone up exponentially since it beats dining out – it’s the middle that suffers in recessions.

“150 of the films made in France [227 in total] were watched by fewer than 100,000 people last year; their box office grosses covering a pitiful 2% of their production costs.”

“…investment in French films reached a record-breaking €1.2bn in 2007.”

“…without a plausible shot at a Best Actor/Actress Oscar nomination, films in the €5m-€10m budget range are operating in a dead zone and are harder to recoup.”

“…we think European film is still a sound investment.”

CNBC ~ The New Screen Test (01.10.2009)

Just like the world economy, the film industry has burgeoned out of control. It’s inflated and overblown. It needs to let some air out of the bubble and return to a more reasonable size and scale.”

“We’re at a crossroads. So much of what we’ve counted on isn’t working. It’s not a question of old school vs. new school. It’s Lewis and Clark time, the things we’re not sure about, that we hang our hat on, like movie stars.”

“The bigger the movie stars become, the more constricting their roles and the scope of their roles.”

“Bring costs down and they’ll gain more flexibility to make better, more interesting and varied movies. They could lure adults back to theaters and appeal to niche markets without having to play it safe with four-quadrant pics.”

Variety ~ Hollywood’s A-list losing star power (01.10.2009)

“We’ve seen a growing adoption of ‘watch instantly’ [Netflix’s streaming option] and we expect that to continue, [but] you can’t see a drop-off in DVD usage because the people who go for online streaming are a different type of person.”

LA Times Blog ~ Netflix subscriber growth narrows (01.10.2009)

“Unless you have people driven by the idea they need to make money, what you get is people driven by the idea they want to make movies. People who want to make movies constantly take their eye off the ball on making money.”

Screen Daily ~ Film business training (01.10.2009)

“[Upcoming 3D productions] could be the commercial salvation of a movie-going experience that, depending on one’s source, has stagnated or experienced the most tremulous of growth.”

Screen Daily ~ 3D needsfully-rounded pictures (01.10.2009)