When Spooks first hit television screens back in 2002 it was a real breath of fresh air. Gritty, realistic and not afraid to do terrible things to main characters who would previously have been deemed untouchable, it redefined what British drama on the small screen was all about while making London look both seedy and fantastic all at once.
Ten seasons later it bowed out gracefully after a decade of critical acclaim and that was that, or so we thought. With Bond riding high once more thanks to Skyfall and in the wake of a plethora of Bourne and Mission: Impossible movies, the announcement that Spooks was to finally hit the big screen raised the question of whether a small screen drama, impressive as it was, could make the transition to the multiplex and stand shoulder to shoulder with the aforementioned competition.
The answer is yes, but only just. Putting Kit...
Ten seasons later it bowed out gracefully after a decade of critical acclaim and that was that, or so we thought. With Bond riding high once more thanks to Skyfall and in the wake of a plethora of Bourne and Mission: Impossible movies, the announcement that Spooks was to finally hit the big screen raised the question of whether a small screen drama, impressive as it was, could make the transition to the multiplex and stand shoulder to shoulder with the aforementioned competition.
The answer is yes, but only just. Putting Kit...
- 9/28/2015
- Shadowlocked
When I first read of Tiffcon's (Tokyo International Film Festival) efforts to increase international sales and coproductions (Sales and co-production under the spotlight at Tiffcon News Screen), what caught my attention first was reading, "Taiwan, which was colonised by Japan for 50 years until the 1940s" and I thought, How about a film about that little known fact for the rest of us...including -- was it called, Chang Kai Chek's "liberation"?
On thinking further of how much well-thought-out care was taken to address the issue of our international film crisis from the Japanese point of view, I realized that Tiffcon was presenting a model to emulate for regional film markets and that this applied particularly to the new upcoming Ventana Sur, hosted by the Argentina Government organization Incaa and Jerome Paillard of the Cannes Market. Might the Tokyo International Film Festival with its intense focus on the Japanese film industry...
On thinking further of how much well-thought-out care was taken to address the issue of our international film crisis from the Japanese point of view, I realized that Tiffcon was presenting a model to emulate for regional film markets and that this applied particularly to the new upcoming Ventana Sur, hosted by the Argentina Government organization Incaa and Jerome Paillard of the Cannes Market. Might the Tokyo International Film Festival with its intense focus on the Japanese film industry...
- 11/2/2009
- by Sydney
- Sydney's Buzz
Relativity Media, the former hedge fund that has been cofinancing 75% of Universal films through 2011 and was going to provide 50% of the budget for ten to fifteen films from 2011 to 2015 is now negotiating to buy out Universal's genre division Rogue Pictures which Focus Features began in 2004. They will distribute the four upcoming films and more than 30 projects in development through Universal. They will also have more than 25 library titles. This former hedge fund, now going legit as a producer is one of several similar developments. Relativity is said to be “ fairly insulated from the current problems in the marketplace because it is largely invested in media companies. Relativity’s N.Y. based hedge fund backer Elliott Associates who has investments far from any of the troubled sectors has invested some $1 billion in Relavitity Media to expand its single picture business as well as acquire assets, libraries, video games, TV and new media assets.” An additional $1.5 billion to extend its Universal cofinancing through 2015 allows it to choose from Universals’ entire slate and finance 50% of them from 2011-15 as opposed to its current deal in which they finance 75%.
Now that the Dreamworks' Reliance financing has come through with $550,000,000 in equity and $700,000,000 from JP Morgan Chase, it’s noticeable how the other studios are teaming up with Indian financing to do local production. Disney in India will produce four features and Fox Star has a multifilm deal with Vipul Amrutlal Shah.
Cinecitta Studios in Italy is now open to acquisition, and Carl Icahn has just taken a 9.2% stake in Lionsgate by purchasing more than 4 million shares (which had fallen 24% in the month of October before rallying 6% Monday October 20. After Icahn's purchase price of shares jumped 8%).
The trend will continue as the studios struggle to seek cash e.g., Paramount's Redstone's selling $400 million shares in Viacom and CBS to raise money to pay for debts at his holding company, National Amusements, after DreamWorks moved out and as cash seeks new outlets.
Asian filmmakers are advised to seek financing for international sales by being multi cultural. The Weinstein Company’s TWC Fund for example will finance pictures set in Asia but which can be shot elsewhere. The director must be born in Asia. TWC has no development financing but needs a complete package including script, talent attachments, director and estimates.
RGM, a Singapore-based executive production and packaging group form an Australian source recently raised $400,000,0000 to make around 10 pictures with a budget of $40,000,000 over the next four years which will include Jan de Bont’s ‘Point Break 2’. They prefer English language, a North American release set and a minimum of 30% of the budget covered by presales. They also have development financing.
Irresistible Films, a joint vernture between Avex, Edko and Hong Kong financier Hugh Simon, is geared toward upcoming talent and will finance commercial films in the $1,000,000 to $3,000,000 range, will not finance development but will team the director with senior producers and will retain final cut.
Now that the Dreamworks' Reliance financing has come through with $550,000,000 in equity and $700,000,000 from JP Morgan Chase, it’s noticeable how the other studios are teaming up with Indian financing to do local production. Disney in India will produce four features and Fox Star has a multifilm deal with Vipul Amrutlal Shah.
Cinecitta Studios in Italy is now open to acquisition, and Carl Icahn has just taken a 9.2% stake in Lionsgate by purchasing more than 4 million shares (which had fallen 24% in the month of October before rallying 6% Monday October 20. After Icahn's purchase price of shares jumped 8%).
The trend will continue as the studios struggle to seek cash e.g., Paramount's Redstone's selling $400 million shares in Viacom and CBS to raise money to pay for debts at his holding company, National Amusements, after DreamWorks moved out and as cash seeks new outlets.
Asian filmmakers are advised to seek financing for international sales by being multi cultural. The Weinstein Company’s TWC Fund for example will finance pictures set in Asia but which can be shot elsewhere. The director must be born in Asia. TWC has no development financing but needs a complete package including script, talent attachments, director and estimates.
RGM, a Singapore-based executive production and packaging group form an Australian source recently raised $400,000,0000 to make around 10 pictures with a budget of $40,000,000 over the next four years which will include Jan de Bont’s ‘Point Break 2’. They prefer English language, a North American release set and a minimum of 30% of the budget covered by presales. They also have development financing.
Irresistible Films, a joint vernture between Avex, Edko and Hong Kong financier Hugh Simon, is geared toward upcoming talent and will finance commercial films in the $1,000,000 to $3,000,000 range, will not finance development but will team the director with senior producers and will retain final cut.
- 10/22/2008
- Sydney's Buzz
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