Screen International’s Post

Incredibly insightful thoughts about the current situation in the industry and the changes that need to be made. Take some time to read the latest Nostradamus report. If you follow Ted Hope’s newsletter, you’ll enjoy the insight he adds into this report. Film i Vast’s Tomas Eskilsson has enlightening thoughts on the current film funding models and the theatrical ecosystem. I enjoyed Robert Franke insight on the creator industry within the film/tv industry. Joanna Szymanska comments on choosing collaborators with smaller budgets because of their qualities as human beings as opposed someone not so friendly who gives you money. Hannah Reifgerst is spot on with her analogy of the opera for adults to the cinemas for teenagers. For many it’s only affordable for a once a year type of experience. There is so much more wisdom and insights to ponder in the report from: Angela Chan Fatima Djoumer Guillaume Esmiol TABITHA JACKSON Kjersti Mo Gaia Tridente I would have pulled quotes from everyone, but then I would have just copy & pasted the whole report on this post.

Thanks to the internet, films today are promoted globally. So to maximize revenue, the film needs to be available to a maximum people, at the time when everybody is talking about it. But it is not possible to release the film in all the theaters in the world, and even if we do that, a huge segment of the global audience does not have access to theaters. This delay often results in a cooled interest by the time the film becomes available online, leading to a significant loss of potential revenue.   So why not release the film online and make it available everywhere? Because by doing that we will cannibalize theatrical revenue which is the biggest source of revenue for a film. Our innovative approach ensures that films are available to the audience at the peak of their interest without affecting the crucial theatrical revenue. Our online service combines theatrical releases with transactional video-on-demand to create a hybrid release system that will make the most money for a film. Write to us at info@moviesaints.com if you’re curious to know more. #FilmIndustry #Innovation #Angelinvestors #EntertainmentTech #investors 

As a film lover, it always frustrates me that I can't watch the latest films whenever I want. If I crave Chinese food, I can walk to the closest restaurant. If the restaurant is too far, I'd order delivery. But I don't want to be told, I have to wait 2 weeks to have Chinese when I want to have it today. But this is what has been happening with movies for decades. If your nearest theater isn't playing a particular movie, tough luck! While the big screen experience is unmatched, being deprived of enjoying a movie just because it's not in theaters seems unfair. This situation is causing the film industry to lose millions of dollars in missed revenue, especially for non-studio/independent films. At MovieSaints, we want to change this. We want to bring the latest films to viewers globally, while maximizing the revenue for filmmakers.

Navigating the Global Market of 𝗣𝗼𝘀𝘁-𝗣𝗿𝗼𝗱𝘂𝗰𝘁𝗶𝗼𝗻 with 𝗖𝗵𝗮𝗶 𝗬𝗲𝗲 𝗪𝗲𝗶, as he share 𝗶𝗻𝘀𝗶𝗴𝗵𝘁𝘀, 𝘀𝘁𝗿𝗮𝘁𝗲𝗴𝗶𝗲𝘀, 𝗮𝗻𝗱 𝗲𝘅𝗽𝗲𝗿𝗶𝗲𝗻𝗰𝗲𝘀 in navigating the ever-evolving landscape of the global post-production market. It's the final session before the end of the 1st phase, and the excitement is palpable as we chart our course for the future of film. #PostProTalentlab #GlobalMarket #FilmFuture

Let's title this one "What African Film Industries Can Learn from the UK's Progressive Model for Growth and Sustainability." There's a critical need in African film industries for actionable initiatives beyond discussions at summits and forums. Leveraging the influence and access of organizers to push for structured, progressive policies, akin to those adopted by the UK government in the article below, could significantly advance the industries. In the context of African cinemas, a proposed inquiry might look like this: Committee Formation - It could be continent-wide, or country-specific. In either case, the Committee should include a diverse range of industry professionals and representatives. Areas of Focus - Most important at this moment is talent development. So, establishing world-class training and educational programs that are not just imitations of Western models, but rather nurture and celebrate the unique cinematic voices and stories, prioritizing local context and perspectives that can lead to the development of distinctly African cinematic identities. - Of course funding and financing, exploring sustainable funding models. - Distribution and accessibility, enhancing local and international film distribution channels. - Cultural representation, ensuring diverse and inclusive storytelling. - Technology adoption, notably the proliferation of AI in the production and distribution stages. - A regulatory environment that is consistent in examining and proposing regulatory changes. - Audience engagement strategies, both locally and globally. - Encouraging regional and international partnerships. Process - Gathering insights via submissions, followed by an in-depth analysis and a report outlining strategic recommendations. - The next crucial step would be advocating for these recommendations to be implemented by governments. This means engaging with policymakers, leveraging the influence of industry stakeholders, and using the report to demonstrate the potential benefits of the proposed changes. - Effective implementation will require continuous dialogue, collaboration, and, possibly, adjustments to the recommendations based on practical considerations and feedback. This merely outlines a potential framework for exploring similar issues in African cinema contexts. Can this happen? While challenging, successful examples in other regions suggest it's possible with concerted effort and strategic planning.

class is not water

Production incentives are gaining momentum and are becoming a major resource in European film financing! 🎬 Production incentives, which surged from 9.6% in 2016 to 17.8% in 2020, have become the fastest-growing financing source. The rise is primarily due to their expanding role in medium and large markets. 💸🔥 Meanwhile, the share of direct public funding consistently decreased from 29.4% in 2016 to 24% in 2020, despite being the largest source of film financing for European fiction feature films. Learn more about the financing structures of European fiction films in the European Audiovisual Observatory | Observatoire européen de l'audiovisuel's latest report! ➡️ https://go.coe.int/traY3

Between 2013 and 2023, only Nepali fiction films that address socioeconomic challenges have been selected for A-list international film festivals such as Sundance, Cannes, Berlinale, Venice, and Toronto International Film Festival (TIFF). While highlighting these pressing social issues acts as a window into the country’s diverse and complex societal dynamics, it also leads to imply if this is a set formula to make it into the A-list festivals. It also raises questions about the broader implications for creativity and the portrayal of the nation’s cinematic landscape. A small reflection piece I wrote, let me know what you think! #internationalfilmfestivals #socialstorytelling #creativeeconomy #nepalicinema

Incentives are the lifeblood of Indie projects. There are few reasons to not capitalize with these incentives!

Good morning #linkedinfam 🎬 2023's Top Film3/Web3 Innovations and the Visionaries Shaping Our Digital Future I did the research so you don´t have to and - I love years ends lists. HEre is a list about film3 / web3 projects that actually raised the bar for film3 in 2023. At least in my opinion. There are also some relly influential and great people like Miguel Faus, straybits and Jordan Bayne - who fight endlessly for more democratization in the film industry. And like always: This is NOT financial advice. DYOR. 🚀 #Film3 #Web3Revolution #web3 #film #2023 #ai #filmproduction #blockchain #crypto