The Research Blog

Documents that accompany a film When a film gets delivered to a distributor or to a sales house there are a series of documents that must come along with the film. The most basic documents are: - Original Dialogue List - Copy of E&O Certificate (Errors and Omissions) - Music Cue Sheets - Chain of Title - Chain of Title Summary - Dolby Licenses - Music Licenses

Needed items (in english and spanish): 1.      Tag line 2.      Logline 3.      Synopsis 4.      Film Datasheet (Country of Origin, total Budget, Release date, Genre, etc) 5.      Awards information 6.      Director Biography 7.      Director Statement (Brief paragraph explaining your motives for making the film) 8.      Actors Biographies 9.      Key Crew Biographies 10. Production notes 11. Press list (Noteworthy sound bites from press mentions and list of mentions in the press) 12. Sales Info (Distributors, Countries sold, available rights, Agents, etc) 13. Social Media list (and include a list of tags) 14. Artistic Datasheet (Talent Credits) 15. Technical Datasheet (Crew Credits) 16. Full Credits Theatrical Release Date: Overall Strategy 1.  ...

THEATRICAL DISTRIBUTION IN HONG KONG The standard minimum guarantee ranges in Hong Kong are: For independent films: $5.000 to $20.000 For films with a-list actors: $20.000 to $50.000 Deals with the film theaters are usually structured like this: Week 1: Distributor 45% - Theater 55%, except for special shows which are day shows which will range between 40% to 45% for the distributor. Week 2: Distributor 40% - Theater 60% Week 3: Distributor 35% - Theater 65% Week 4: Distributor 30% - Theater 70% Independent films will get stuck in the 2 to 3 shows per day which means the P&A expenditure has to be higher and the chances of making money are less. Studios get deals that range to the 6, 7 or 8 daily shows and get 50% to 60% of the ticket sales. An average independent film that does well will pull in about $750.000 in the box office.

THEATRICAL DISTRIBUTION WORLDWIDE: In this day where globalization is becoming more common, the majors are taking two sides as to how they release and market their films. On one hand, there is the traditional way, which separates international and domestic distribution, mainly because of cultural issues. This means that a film needs to be marketed differently depending on the country it is being released in. Not only this, but it also looks into the content, the film itself, to see how it must be sold and who are the targeted audiences. On the other hand, we have a new global economy where culture globalization is become more and more intense. The U.S. which is the largest exporter of copyrighted intellectual property and the majors who are mostly responsible for this, are determined to treat the world the same. Instead of selling a film country by country and localizing the marketing, which is how most international executives think it should be done. The trend is for a day a...