Screendaily published an amazing piece gathering international film experts’ point of views on 2009 & what to expect for 2010. Here are the parts about asian films:
• Yoshi Yatabe, Programming Director, Tokyo International Film Festival, Japan
Biggest news story of 2009
The bankruptcies of medium-size Japanese distribution companies. It’s caused considerable damage for the distribution of ‘arthouse’ films in Japan.
Changes in store for 2010
The Japanese market for arthouse films will keep shrinking and will hit bottom by the end of year 2010.
• Kevin Chan, Producer & Asia Pacific Producers Network Secretary General;
Biggest news story of 2009
At the [Korean] box office, Haeundae taking over 10 million admissions was really a big event and significant for the industry. I was personally involved in the film, too, so it was of course gratifying and enjoyable on that plane as well.
Changes in store for 2010
International co-productions [with Korea] will slowly but steadily start come to life and into the mainstream. The Korean market is only so big, while the Asian market is on the rise, so there will be earnest discussions about co-production. Hollywood also seems to be taking on interest in Asian films so it will be interesting to see how Korea and Asia position themselves.
• Jyoti Deshpande, Coo & Commercial Director, Eros International
Biggest news story of 2009
It has to be the multiplex stand-off. It all started with our film Aa Dekhen Zara getting caught in the crossfire between the multiplexes and the producers/distributors. The film got boycotted by all national multiplex chains and had to play only on single screens so in a strange way it was the film that actually fuelled the stand-off without which it would have been a theoretical concept.
Changes in store for 2010
The beginning of ‘consolidation’. It will bring discipline, transparency and structure. [Indian] studios will be choosy, talent will be choosy and so will the audiences. In boom time you saw more short term opportunistic deals. Now we will see stickier stronger alliances. As they say, when the going gets tough, the tough get going.
• Kim Dong-Ho, Festival Co-Director, Pusan International Film Festival, South Korea
Biggest news story of 2009
In the midst of the slump in Korean films, the news that Haeundae took more than 10 million admissions [in Korea] and, that, at the same time on the other side of the spectrum, independent films like Old Partner and Breathless did very well, too. These two issues together this year were the biggest news story for me, because it’s breathing life and energy back into what was a stagnating market.
Changes in store for 2010
2010 will be a year in which we will be able to watch with keen interest as actresses take centre stage in Korea. Yoon Jung-hee has come back to star in Lee Chang-dong’s film, and Jeon Do-yeon is starring in Im Sang-soo’s remake of The Housemaid. There is also the recent Berlinale selection Actresses, directed by E J-yong, with its ensemble cast of actresses. Also, I think 2010 will be the year the Korean film industry gets out of its long-time slump. As for me, I’m thinking of making next year’s edition of PIFF my last.
• Siddhart Roy Kapur, CEO, UTV Motion Pictures, India
Biggest news story of 2009
The stand-off between Indian producers-distributors and multiplexes was the one story that dominated headlines in India this year. It also had direct repercussions on the overall volume of theatrical business that the Hindi film industry has done in 2009, with releases getting bunched up and cannibalizing significantly on each other throughout the year.
Changes in store for 2010
I have a very positive sense overall on the way things are slated to go for the industry next year. On the creative end, a focus from filmmakers and studios on getting the script right and telling fresh stories differently, an infusion of new talent behind and in front of the camera, more franchises and genre-driven movies being developed, not necessarily with a big star cast but with a big idea.
On the revenue side, further growth from newer revenue streams, increased digitization of cinemas helping to increase the penetration of cinemas across the country and reducing the cost per print, newer markets opening up for our movies overseas, merchandising and licensing becoming another viable route to generate higher revenues and market the film and more efforts to curb piracy – physical and online – by an industry wide initiative.
On the cost side, lower production costs including lower artist fees, in order to bring more economic sense to the business of movie making and, lower and more innovative ways of marketing films, by cutting out the waste and focusing single- mindedly on the core target audience for each film.
Too bad, no words about China, Hong Kong, Thailand…
• Points to keep in mind for 2010
- More international co-productions with Asia;
- More co-productions between Asian countries;
- VOD platform as an alternative distribution channel;
- …?
Courtesy of Screendaily
Image from Breathless’ Poster
