Today on AirTalk, we talk about Studio Ghibli’s growth in the global box office, Hayao Miyazaki’s role in that, and the legendary filmmaker’s legacy. No official release date globally has been announced, but North America will be blessed with a screening as the Toronto International Film Festival opens its festivities with Miyazaki’s last film as a director. It’s domestic and global success at the time was unmatched… up until the 2001 film “Spirited Away.” Fans revisiting these features comes at a time where Miyazaki reaches the next chapter in his storytelling, with his final film “The Boy and the Heron” having released in Japan in July. That being the 1997 film “Princess Mononoke,” a film that was renowned filmmaker Hayao Miyazaki’s first, global box office hit, making close $200 million. There's a lot of doom and gloom in the trades about the current marketplace.Ghibli Fest 2023, a yearly re-screening of Studio Ghibli films, may have kicked off back in March but it’s upcoming re-release has historical significance. So there is still optimism for independent filmmakers in the face of series?Ĭan you explain the AFM on demand screening platform? What does the future of the AFM market look like with the new studios like Netflix who not only produce but self distribute? Read the full interview and Jonathan's views on the following questions: So there's a sense of confidence of having come to a stable place now. The film still has to meet everyone's expectations but the marketplace won't pull the rug out from under them and change. Now that most sales companies and buyers see where the marketplace is going they can anticipate the future, they can make production decisions today with confidence that the film's done in eighteen months. They come here when it's finished and find out the marketplace changed. You have films that were made a few years ago, anticipating the marketplace would be a certain way. Sometimes there are discounts because a store guessed wrong on a style or bought too many. Just like everything sells in a department store if it's priced right. All films will sell if they're priced right. Those films have missed the marketplace in terms of pricing the film properly. Because of this, many films we're seeing here were washed out of the process because they were packaged a few years ago, which was a different marketplace then. So they're more confident in making offers to cover a longer period of time because they have a sense of where that is. They can see where this is going to land, what the values are going to be, what they can and can't get out of subscription versus on demand and all the other mediums. What we're seeing now is while the change is not complete, the buyers can now see over the horizon. So, yes they'd continue to buy films but they'd be very cautious with their offers. When uncertainty came along the buyers became very risk adverse. If you know what the marketplace will be you can plan ahead and make offers appropriately. If someone says, “We don't know how the weather is, what do I pack for my trip? Well, I can't pack everything so maybe I don't take the trip.” So, if you know what the weather is you can plan ahead. If things are certain, like if you know it's going to be raining for the next week you know to carry a jacket or an umbrella. Business hates uncertainty because you don't know when to take risk. This created uncertainty for the buyers who were coming in and buying all rights for their country. All those cable networks and stations had to switch to something new because they don't play movies anymore, everything's available on subscription. As subscription services were built that whole syndication piece disappeared. A decade ago a buyer of a film in Italy could forecast what the cycle of syndication was worth fifteen years out and they would put that into their ultimate estimated value. As Netflix and subscription services around the world continued to grow the value of syndication in film started to tank and disappear. WOLF: I tend to take a long view as opposed to just how things are going this week. Vanessa McMahon: This is an interesting year in distribution, right? What's the general feeling at this market in light of The Weinstein Company falling apart and other distribution companies struggling against Netflix etc.?
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |