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Today’s Highlights: Finnish Mystery Thriller 'Icebreaker' Wins at MipTV: "Icebreaker," a Finnish mystery thriller, wins the Coup de Coeur award at the 8th edition of MipDrama, highlighting its atmospheric and claustrophobic storytelling. CNN Originals Aims for Comeback with Space Shuttle Columbia Series: After facing significant budget cuts, CNN Originals is launching a new series focused on the space shuttle Columbia. Documentary Industry Insights from Cannes' MipDoc: Dawn Porter outlines challenges and strategies for documentary makers in the current market, emphasising the industry's competitive nature and the need for filmmakers to navigate it carefully. Shifts in Factual Programming Discussed at MIPDoc: The session at MIPDoc underscores the resilience of factual commissions amidst industry changes, including a shift towards branded entertainment and immersive experiences. Paramount Introduces Custom Ads: Highlighting a trend towards integrated advertising, Paramount's new approach to custom ads during shows reflects broader industry moves towards monetising streaming content. Challenges in Documentary Filmmaking Due to Hollywood Cutbacks: The post discusses the financial and creative struggles faced by documentary filmmakers, highlighting the industry's uncertainty and the impact of budget cuts. Kyle MacLachlan Comments on 'Twin Peaks' and Today's Hollywood: MacLachlan's insights on the evolution of Hollywood, including the sophistication of its stars and the potential for another "Twin Peaks" reboot, reflect on changing industry dynamics. 'Yellowstone' Becomes a Financial Powerhouse: The success of "Yellowstone" and its impact on the industry, including the commissioning of similar shows, demonstrates the show's cultural and financial influence. The Economic Impact of Filming in Georgia: This story covers the benefits and costs associated with filming incentives in Thomasville, Georgia, shedding light on the broader debate over the value of such incentives for states. Daniel Brühl's Role as Karl Lagerfeld in Disney+'s 'Becoming Karl': Brühl's preparation for playing the fashion icon in the upcoming series exemplifies the intersection of biographical storytelling and high-profile acting talent in contemporary media. Subscribe to our daily updates at the link below:

It's pretty rough for independent filmmakers out there. The majority of independent films don't make their money back. You don't have to crunch a lot of data to figure out that you have to win the filmmaker lotto to get a wide theatrical release or land on a major streaming platform. And international sales are drying up. Why? Travel around the world and look at the quality of movies or TV shows being produced locally, in the local language with actors who live in the same city. They don't need your movie.   You have to increase your chances to beat the odds. The smart filmmakers are building audiences before the actors ever set foot on set. It's not an option anymore. You have to know who's interested in your movie and willing to pay to watch it (and hopefully all the merch you had your friend design for you) before you start. If your plan is to make something that is so amazing that Hollywood will fall over themselves to write you a big check and pay for that multi-million dollar marketing budget, you're in trouble. Even if you make that golden movie, take a quick glance at a Hollywood balance sheet. They don't have that money to throw around anymore. They'll take you out to lunch, but you're going to have to pick up the tab.   I love the film business. I loved working in it and I'm not ready to give it up. I want to see independent filmmaking thrive, but the system is failing. I'm not really someone who sits around moaning about how bad things are while waiting for someone else to solve the problem, which is why I dived headfirst into VR. I didn’t build the Kariboo streaming platform because I thought I could convince people that what they really wanted was to watch movies in a diving helmet, but I'm not waiting until the technology becomes comfortable enough to wear on the bus… which it will.   More importantly, I see a real opportunity for independent filmmakers to use extended reality to develop a more direct connection to audiences on a global scale, and I want to facilitate that opportunity. Someone asked me if I thought this was a way for filmmakers to make money, or it was just something cool to do with their movie. Admittedly, it's the latter. We're building something cool that we believe will be the new model for filmmakers to screen their movies, but we still have a lot of work to do and partnerships to build. We're looking towards the future and developing the technology to work with creatives to find a better path forward. Kariboo on the Meta Quest: https://lnkd.in/gQcMaU99

Why Are Independent Producers Cautious About Introducing Their Contacts to Other Filmmakers? The third quarter in Los Angeles was challenging for filmmakers, as industry slowdowns made it harder to stay afloat. Yet, I remained busy thanks to the relentless support of independent investors—the unsung heroes of indie storytelling. Every project is an opportunity to learn and reflect. Recently, I revisited a familiar question: Why are independent producers cautious about introducing their hard-earned contacts to other filmmakers? In independent filmmaking, relationships are often as valuable as the films themselves. Producers work tirelessly to build a network of trusted collaborators—investors, cast, crew, and distributors—each contributing to a project's success. While it may seem generous to introduce these contacts, producers should exercise caution. Sharing one's network indiscriminately can lead to unintended consequences that impact the producer’s reputation and future opportunities. Independent producers rely on a close-knit web of relationships cultivated over years based on trust and shared experiences. Introducing contacts to other filmmakers can weaken these connections. If an investor or "vanity producer" fails to maintain professionalism or causes friction, it reflects poorly on the producer. The damage can reduce the likelihood of future collaborations with talent. In an industry where resources are scarce, producers must guard their competitive edge. Contacts such as crew, vendors and talent, can determine a project's success. Sharing these contacts freely risks losing access to vital resources. A valuable investor approached by multiple filmmakers might divert funds to competitors, while in-demand crew members might be booked by others. I am particularly cautious about sharing information about casting directors I’ve worked with. They have spent years building trust with talent agents and managers, as well as with me. When introducing contacts to another filmmaker, producers risk exposing their network to potential conflict. The new filmmaker may not share the same vision or work ethic, leading to misunderstandings. Additionally, if agents or distributors feel overexposed to multiple filmmakers, they may become overwhelmed and reduce their attention to the producer’s projects. While networking is essential, independent producers must consider the implications of introducing their key contacts. The risks of damaging relationships, losing competitive advantage, and jeopardizing future projects are significant. Producers should be strategic about their introductions, ensuring that they serve the best interests of all involved. By protecting their connections, independent producers can safeguard their career longevity and success in a competitive industry.

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Charting the Course: A Producer's Journey Through Film Distribution In the vibrant film industry, a film’s journey doesn’t end with the final cut; it embarks on a new adventure—the complex world of distribution. Understanding film distribution agreements is crucial to ensure your cinematic masterpiece reaches its audience effectively. 🎬 The Cinematic Journey Begins Imagine pouring your heart and soul into a film, crafting every scene with care. After months of hard work, it's time for your creation to hit the screens. But how will your film find its way to audiences? Enter film distribution—your film’s ticket to the world. 🛤️ The Three Avenues of Distribution Film distribution can be likened to a grand train station, with three major platforms: 1.Theatrical Distribution: Picture your film gracing the big screen at a bustling cinema. This journey starts with an agreement between you and the cinema chains (think PVR, Inox). 2.Satellite Exploitation: Your film reaches homes through satellite television, with agreements allowing it to entertain viewers from the comfort of their living rooms. 3.Digital Distribution: Your film goes digital! With the rise of streaming platforms like Netflix and Amazon Prime, this avenue allows it to reach a global audience. Licensing agreements play a vital role here. 🤝 Key Players in the Distribution Game In this web of distribution, the key players are producers and distributors. As a producer, you license your film to distributors who take on the challenge of promoting and screening it. Think of them as your film’s champions. ✍️ Crafting the Perfect Agreement When drafting a film distribution agreement, certain clauses are crucial: -Subject Matter: Clearly outline what your film is about. - Definitions: Establish clear definitions to avoid confusion. - Ownership of IP and Grant of License: Protect your intellectual property while granting distribution rights. - Duration of License: Specify how long the distributor can showcase your film. -Territory: Define the geographic areas for rights. - Overspill Provisions: Address unauthorized distribution. - Adaptation Rights: Set limitations on modifications. - Language Rights: Include rights for dubbing or subtitling. - License Fee Structure: Detail profit-sharing mechanisms. 🌍 Going Global: The Overseas Distribution Advantage Now, imagine your film breaking international barriers. Overseas distribution can amplify your film’s reach. Consider: - Territorial Rights: Grant rights based on the distributor’s market knowledge. - Local Partnerships: Collaborate with local distributors to navigate regional laws. 🎉 The Rewarding Journey Navigating film distribution may seem daunting, but it’s essential for your film’s journey. A well-structured distribution agreement protects your intellectual property and maximizes your film’s potential. Rashmi Natekar Dharma Productions RVCJ Digital Media

TL;DR 📖-📢: Opportunity Knocks for Aspiring Filmmakers with TikTok’s Third Short Film Competition ✅Key Takeaways: - TikTok has announced its third annual Short Film Competition, aimed at inspiring users to delve deeper into creative self-expression. - The competition is not restricted by genre, providing a broad canvas for filmmakers to showcase their talent. - Category winners will receive a cash prize of $10,000 and also have their content featured on TikTok's Discover Page. - Entries will be judged by prominent filmmakers in the industry, providing entrants the opportunity to have their work scrutinized and appreciated by industry leaders. 🔍Insights: - Platform like TikTok have emerged as a crucial space for creators to experiment, innovate and express their creative identities. - By providing a high-profile platform for filmmakers, TikTok boosts user engagement and content creation while promoting creativity. - With cash prizes and exposure on offer, the competition is a great motivation for aspiring filmmakers to showcase their talent and potentially gain recognition. - This competition also strengthens TikTok's position as a platform that encourages and cultivates talent across various genres. 🧭 For Marketers, brands, & Content Creators: - Marketers and brands can leverage this competition to scout for fresh talent and groundbreaking ideas for their campaigns. - The competition provides an excellent opportunity for content creators to gain recognition and exposure within the industry. - Brands could sponsor or partner with the competition for direct engagement with the TikTok community, boosting their visibility and reach. - The format and broad scope of the competition also provides insights into the latest trends and innovative filmmaking techniques. 🎉Conclusion: - TikTok's Third Annual Short Film Competition epitomizes the democratization of the filmmaking process, empowering aspiring creators worldwide. - This initiative not only cultivates and encourages artistic expression, but also takes steps in fostering a vibrant, creative community on TikTok. - Through such competitions, TikTok is championing diversity and inclusivity in the world of creative expression, reinforcing its role as a platform for creativity and innovation. #TikTokCompetition #Filmmaking #ContentCreation Update as of 20/02/2024 Follow for more 📈🫡 & Lets connect: https://lnkd.in/dkis_kdf Join MarTech community here: https://tally.so/r/3NWD6B for Exclusive updates. ------------------------------------------------------------------------------------------------------------------------------- #marketing #tech Comment your thoughts and insights!!

I have seen time and time again how English-speaking Asian independent filmmaker from developing nations such as Southeast Asia, South Asia or third world get funding and distribution as multiple English-speaking producers and distributors from advanced nations get on board the project. It gets made with such active worldwide assistance from the ground up which is uncommon for Korean independent filmmakers. Here is an irony I see. I am an independent Korean filmmaker fluent in English thanks to my life history but I get no support from foreign producers because they think I can get all the help I need in Korea itself, as they believe it has great infrastructure and local support. It is true that Korea has a vibrant filmmaking industry on the commercial side, but thousands of independent filmmakers struggle to fight for a tiny piece of funding from local film boards or agencies. The competition is so incredibly intense that only a few manage to make their shorts and hardly enough to move onto a feature. They most often have no resources or language skills to reach for international support and fight among themselves for any opportunity to shine. They are talented and yet trapped in their own system. A bigger example of this; Everyone knows how ‘Squid Game’ changed the Korean entertainment terrain and expanded its horizon but only a few would admit that the Korean producers ignored the project for years until a foreign producer(Netflix) gave it life. The local industry players have some fixed idea of what would succeed at the theater or win their audience over, that they have little intention of giving a chance to new filmmakers or trying something different. This is how diversity within the industry may eventually perish, fighting among themselves to make only films that would hit gold. There’s little place for independent or new filmmakers in Korea to stand on, not unlike English-speaking Asian independent counterparts from Southeast Asia or other developing nations. I know the work has to speak for itself first, so I have no doubt that only the best and the brightest projects will eventually find their way to the screen. But even before that, non-English speaking Korean independent filmmakers (or English-speaking Korean filmmakers like me who does not fit any box) may not be looked at once. I am writing this in the hope that more foreign producers from international organizations would give new independent Korean filmmakers a chance. They would be raising their own profile as a forward-thinking industry player who has saved talents from a shiny trap and helped add diversity in the world cinema. #KoreanIndependentFilmmaker #KoreanFilmMarket #InternationalCollaboration #AsianIndependentFilms #ForeignProducers #FilmPeople #EnglishSpeakingFilmmaker #LocalChallenges #SupportArtists #NeedYourSupport #DiversityInCinema #GiveNewbiesAChance 😉

The best practices in the film and entertainment industry can vary, but here are some key areas where best practices are often emphasized: 1. **Automatic Incentives**: - Many successful film commissions and agencies implement automatic incentives to attract productions. These incentives can include tax credits, rebates, or grants that encourage filmmakers to choose their location for filming¹. - These incentives help create a competitive advantage and attract high-value production activity. 2. Workforce Capacity: - Building a skilled workforce is crucial. Film commissions focus on developing local talent, providing training programs, and fostering collaboration between industry professionals. - By investing in workforce capacity, regions can ensure they have the necessary crew, actors, and technical experts to support film and television production. 3. Capacity Building in Physical Infrastructure and Services, - Film-friendly locations invest in physical infrastructure such as sound stages, studios, and post-production facilities. - They also enhance services like transportation, accommodation, and catering to meet the needs of production teams¹. 4. Film-Friendly Production Environment: - Creating a welcoming and efficient environment for filmmakers is essential. This includes streamlining permits, providing location scouting assistance, and offering support during production. - Film commissions that prioritize a film-friendly atmosphere attract more projects and build long-term relationships with filmmakers¹. Additionally, ethical practices play a significant role in the video production industry. Some ethical practices for video production companies include: - Transparency, Being open and honest with clients about costs, timelines, and project details. - Respect for Intellectual Property: Respecting copyrights, trademarks, and intellectual property rights. - Diversity and Inclusion: Promoting diversity in hiring and representation in content creation. - Safety and Well-Being: Ensuring a safe working environment for cast and crew during production. Remember that best practices can evolve over time, so staying informed about industry trends and adapting to changes is crucial for success. If you're interested in more detailed guidelines, consider exploring resources from industry associations.

YEARBOOK 2023/2024 KEY TRENDS | TELEVISION, CINEMA, VIDEO AND ON-DEMAND AUDIOVISUAL SERVICES -THE PAN-EUROPEAN PICTURE International co-productions as the way out? 🎞 📽 🎦 "TV series were born with the primary aim to serve national audiences, so the number of international partnerships in Europe is limited. But as broadcasters and streamers scrutinize their content investments, they logically advocate for more international collaboration. The virtuous cycle is: higher budgets (for better quality but also due to cost inflation), shared among more partners, leading to fewer but better financed projects. Broadcasters, streamers and producers need to experiment with the many forms these partnerships can take (actual co-productions, licensing deals, development partnerships, etc.). Negotiations are often tense as all parties share the belief that, beyond the initial exploitation, there is a significant long-term value for TV series in terms of additional sales, adaptation rights, etc., a hope that often gives way to disappointment in the case of most European films. This long-term value will benefit whoever retains the intellectual property rights and policymakers will have to decide whether they should intervene to support producers in their attempts to retain rights. Women still lag behind in key roles Despite gradual improvements over the years, women remain underrepresented in key roles within film and TV fiction production, with variations across countries, job categories, and content types. In the considered time period, only one out of every four directors of feature films was a woman, a slightly higher result than that for directors of TV fiction episodes (23%). Behind the camera, figures were more encouraging among producers and writers of TV fiction, where women accounted for 42% and 37% of active professionals respectively. In feature films, the female presence in these domains was lower, with women making up 35% of producers and 29% of screenwriters. The most significant gender divide was observed among cinematographers (with only 11% of female professionals in feature films and 9% in TV fiction) and composers (10% in films and 8% in TV fiction). When considering feature films, female presence was more robust in documentaries compared to other film genres. For instance, women accounted for 39% of producers of documentary features, in contrast to 33% for live-action fiction and 27% for animation. On screen, the picture appeared more balanced than off camera, with actresses representing 41% of leading performers in feature films and 44% in TV fiction." Source: European Audiovisual Observatory #Film #Filmmaker #Filmmakers #Filmmaking #FemaleFilmmaker #FilmProduction #FilmDirector #DocumentaryFilmmaker #FilmBuff #FilmProducer #FilmIndustry #TVProduction #BlackFilmmaker #BlackFilmmakers #AfricanFilmmaker #BlackFilmProducer #FilmResearch #FilmmakersWorld #FilmCritic Picture Box Films (Pty) Ltd Film Research, Production and Casting