ABSTRACT
The growing impact and influence of international markets is analyzed by Rob Aft, President of Compliance Consulting and former international distribution executive. This chapter covers the global movie economy; how studios distribute movies worldwide; 20th Century Fox, Universal, Paramount, Disney, Warner Bros., Sony, Lions Gate; Motion Picture Association of America (MPAA), Motion Picture Association overseas (MPA); the Independent Film & Television Alliance (IFTA); American Film Market in Santa Monica; Cannes in France; European Film Market in Berlin; split rights deals; territorial presales; gap financing; VOD; piracy; international value criteria (cast, director, budget, theatrical release; genre).
What follows is a detailed description of major markets and players: China (China Film Group, Dalian Wanda Group, Huayi Brothers); Germany (Constantin, Splendid, Tele-Muenchen, Prokino, Ascot-Elite); United Kingdom (Entertainment Film Distributors, Lionsgate U.K., Pathe, Entertainment One, Helkon U.K., Mel Gibson’s Icon, Momentum, Metrodome, Optimum Releasing, FilmFour); France (Centre National Cinématographique, UGC Union Générale Cinématographique, StudioCanal, Wild Bunch and Metropolitan, Canal Plus, TPS Télévision Par Satellite, TF1, FR2, FR3 and M6); Japan (Toho-Towa, Presidio, Asmik/Ace, Toei, Shochiku, Asahi National Broadcasting, Fuji Television Network, Nippon Television Network, Tokyo Broadcasting System, Tokyo Television Broadcasting, NHK Nippon Hoso Kyokai, SKY PerfecTV); Latin America (Fox Latin America, HBO Ole, Globo in Brazil, Cisneros in Argentina, Televisa in Mexico); Australia and New Zealand (Hoyts, Village Roadshow, Greater Union, UIP, ABC Australian Broadcasting Corp., SBS); Italy (Medusa, RAI Cinema, Eagle, RAI, Mediaset, Telepiu, Telcom Italia’s Stream); Korea (CJ Entertainment, Showbox, Lotte, Next, Daewoo, Samsung).
