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Estoril : la VOD et tout ce que vous n’avez toujours pas compris…

décembre 20, 2010

CURRENT VOD EXPERIENCES: BENCHMARK BUSINESS MODELS, OBSTACLES & OPPORTUNITIES, LICENCES & WINDOWS

Saturday, November 13th

MODERATION: Pierre Alexandre Labelle – Under the Milky Way (France)

Marijn Duijvestein – KEA European Affairs (Belgium)

Efe Cakarel – MUBI (UK)

Jonathon Perchal – Artificial Eye (UK)

Ricardo Torres – Vertice Cine 360 (Spain)

Introducing the panel on VOD, Marijn Duijvestein from KEA consultancy research cabinet, underlines the movie industry still needs to be quicker than the music industry, by understanding what is changing, i.e. the sequences of activities (sequence of funding, exploitation, starting with marketing earlier). Still, the problem remains the access to content. No matter the number of platforms exploding, how transverse the actors are (game consoles and co), the VOD actors need to focus on the ease of use (internet browsers, easy search and alert mechanisms), the value for the consumer and the navigation into European content (VOD markets so far remain national).

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Estoril : la révolution numérique en marche

décembre 20, 2010

THE DIGITAL REVOLUTION: BUSINESS MODELS

Saturday, November 13th

Moderation: Michael Gubbins – Consultant & analyst (UK)

Régine Vial – Les Films du Losange (France)

Peter Buckingham – UK Film Council (UK)

John Dick – EACEA/MEDIA Programme (Belgium)

Eveline Ferwerda – Cinema Digitaal (Netherlands)

Jean-Paul Commin – ADEF (France)

Christine Eloy – Cineart (Belgium)

Luis Froes – Valentim (Portugal)

The last session of the weekend was dedicated to digital transition in theaters across Europe and how professional are dealing with new costs involved with digital equipment locally.

Peter Buckingham opened the discussion with a presentation of an interesting initiative in the UK based upon creating an event around the screening of a selected movie. So-called SECRET CINEMA creates a buzz around screening a movie (which title remains secret until last minute) in pop up cinema (temporary venues converted into theaters for the time of the screening).

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Estoril : cas pratique sur la stratégie de distribution du film ILLEGAL de Olivier Masset Depasse

décembre 20, 2010

CASE STUDY: ILLEGAL BY OLIVIER MASSET DEPASSE

Saturday, November 13th

MODERATION: Jean Paul Commin, consultant (France)

Henk Cluytens – O’Brother (Belgium)

Carolyn Occelli – Haut et Court (France)

Laurent Dutoit – Agora (Switzerland)

Marieke Jonker – Amstelfilm (Netherlands)

The case study is focused on the different distribution strategies, done or to be done, for the Belgian movie ILLEGAL. It has been coproduced by Belgium (Versus Productions), France (Dharamsala) and Luxembourg (Iris), presented in world premiere at Director’s Fortnight in Cannes 2010, and sold by French international sales company, Films Distribution. So far, the following territories have been acquired: Italy (Archibald), USA (Film Movement), Israel (Orlando), Germany (Telepool), Greece (Feelgood Entertainment).

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Paris Cinéma (1/3) : y a-t-il encore de nouveaux modèles économiques ?

août 23, 2010

Europa Distribution, le réseau de distributeurs européens, a tenu ses traditionnelles conférences sur le marketing, la production et distribution indépendantes au niveau européen, en juillet dernier, durant Paris Projects, la plateforme professionnelle du Festival Paris Cinéma.

Le premier panel a donné lieu à une réflexion générale sur les nouveaux modèles économiques dans l’industrie du cinéma (ces trois posts ont été écrits en anglais).

NEW BUSINESS MODELS (July 5th 2010)

Moderated by Michael Gubbins and Antonio Medici

In this first Europa Distribution work session, Michael Gubbins, journalist and Screen former editor, and Antonio Medici, from the Italian theatrical distributor BIM (which has been at the origin of Europa Distribution with Les Films du Losange‘s Régine Vial) introduce the panel on new business models, by enhancing the fact, that distributors are still distributing movies as they used to do 15 years ago… Lire la suite…

Paris Cinéma (2/3) : Le Quattro Volte, une coproduction européenne du point de vue de son vendeur international et de ses distributeurs

août 23, 2010

The second panel was dedicated to the case study of LE QUATRO VOLTE an ambitious and critically acclaimed project (Director’s fortnight…).

The discussion opened with a presentation of the Europa Cinemas label, which is granted by a jury of art house exhibitors (2000 screens in 800 theaters in Europe) gathered around the same will of promoting independent production. Launched in 2003, the label grants selected movies a bonus in order to find distribution, as well as a valuable input in order to promote and market the film. Lire la suite…

Paris Cinéma (3/3) : distribution, coproduction, même combat ?

août 22, 2010

La dernière conférence d’Europa Distribution lors du Festival Paris Cinéma s’est portée sur les évolutions du métier de distributeur, porté de plus en plus vers la coproduction…

WHY DISTRIBUTORS BECOME COPRODUCERS?

July 6th 2010

Licia Eminenti / Eurimages (moderator), Alexandra Lebret / European Producers Club, Pascal Guerrin / Back Up Films, Annemie Degryse / Lumiere, Belgium distributor and producer, Raimond Goebbel / Pandora Film, German distributor and producer, John Jacobsen, Filmkameratene

Before giving the floor to the panellists, moderator Eurimages (European movies coproduction funds) Licia Eminenti raises the main questions which are at the heart of this panel: now a project is strong, when it has already a commitment from distribution (and sales as well) before it goes for shooting. Movies are made to be watched, so distribution should not be strayed away the production scheme. But in this technological turning point, is the role of producer and distributor going to merge? The future seems intriguing. Lire la suite…

Festival du Film d’Animation d’Annecy (juin 2010, 1/2)

août 18, 2010

Annecy, c’est beaucoup de films d’animation présentés (souvent de très bonne qualité), mais c’est aussi des conférences. On a suivi celles d’Europa Distribution, les voici… et en anglais, parce qu’on est international…

Tout d’abord, la situation du marché de la 3D en Europe, et ensuite des études de cas de films d’animation, présentés par leur distributeur français ou vendeur à l’international.

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