Anna Marton Henry wrote in her AMA answer to my posting last week that Hollywood is contracting while filming here in Europe is expanding.
Is other filming in USA also contracting? Including video and television.
Yes, I understand that there is more and more competition from online computer games. While more and more advertising moves from television channels to the internet.
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Depends on who you believe. If you believe American & English language talent (filmmakers, writers, actors, crew), film & tv industry have fallen off since covid 2020. Show biz ppl are quitting, can't financially survive 3-4 year drought .
But if you believe American Corporate Execs, everything is wonderful. Company Stocks are all-time high. More shows & films made now than ever.
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I mean, I'm just going based on articles in the industry trades Deadline and Variety about what is being picked up and produced, and industry trends. So I guess my source is - I read it on the internet? You can read the same articles on deadline.com (it's free) that I am reading and decide what to make of what they're reporting. The "more shows and films made now than ever" is factually wrong. I mean that's an actual number, not an opinion, and the numbers have been widely reported. The "company stocks are at an all-time high" is factually correct - you can check the stock market for yourself.
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Anna Marton Henry I think for a long time we have probably thought of this industry as homogeneous or simply put, Hollywood. It is however a many splendored thing, and I guess we need to start thinking of it more territory by territory: North America, Europe, Asia, etc. And even within those broad-based zones you will have countries in say Europe, like the UK, that is having serious financial problems and contraction, with other nations that seem to be more positive about their film production.
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Dear friends, I apologize for taking your time because you made me realize that the question is a little complex, so I should not had asked.
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Göran Johansson - we are glad you asked the question, it’s a great topic and has a lot of great opinions!
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What I am seeing, and it is something CJ has also pointed out, is that there is a vast market, especially outside the US, for modest to low budget films not destined for theatrical release, but going straight to streamers or other forms of distribution, like presale to airlines. In a sense it is the inheritors of the old-time straight to DVD market. It is equally my impression that a lot of this stuff is being produced in Europe and Asia.
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Great question, Göran Johansson, and some fantastic answers from Anna Marton Henry & Christiane Lange. No one at all is saying there's "more shows and films made now than ever" - In fact, read any trade on any day and you'll see the international is booming and the U.S. is flux. Almost every platform with the exception of Netflix and Apple has stated they're cutting back while they figure things out. Everyone in the U.S. is fearful right now about productions going overseas. That's why everyone is thinking international.
But as I said on a recent thread here, on calls with Netflix and another streamer last week, they made it very clear they are open for business. When I asked the powers that be at Netflix what they're looking for, the simple response was "Anything. We'll look at anything."
As for distributors, you're seeing a shift. Look at a film like MONKEY MAN. Dropped by Netflix, that normally would have meant doom for the project. But Samuel Goldwyn came in to distribute to much fanfare.
There are shifts, there are facts, and there's dust in the air with M&A and content spend commitments usually set by this time of year still being figured out.
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As a more Intenational focused writer, I welcome a trend towards international filmmaking. Many of my stories are set internationally for that very reason. Production goes where it is most cost effective to produce. To keep relevant, you need to adapt to the reality of the times in which you live.
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I can tell you the demand for our Certification from international film commissions and the international division of streamers is raging. We're contracted with many already, in talks with dozens more. They see the expansion and are concerned with the lack of below the line talent. If that isn't a bullish indicator, I don't know what is.
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Yes, continuing my education here with your Certification program is a goal of mine and definitely on my radar as I do a rewrite on "The Monk Who Would Be Spy" today based on notes I received from one of your executives, which was very helpful.
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Love hearing that. If you don't mind me asking, who provided the notes?
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Sean Hussey provided them. The script is fairly well developed and I worked with Bruce Gordon, script consultant, on it earlier. In rereading the script for the thousandth time, I picked up on a need for a dialogue polish that Sean pointed out as well. All is good if it improves the story. Screenwriting is more sculpting for me, chip away at the story bit by bit and draft by draft until it is filmed. Or, at least it is for me. But this is for "The Monk Who Would Be Spy" and not "The Message" which is part of your Quarterfinalists in the Period contest.
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Hussey is special, man. Knows story inside and out and, as important, understands the money, business, marketability side at a high level.
Congrats on moving on with THE MESSAGE. Like that you have multiple lines in the water. As it should be.
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Sean was terrific and worth every penny I spent on the story AND the career advice. And thank you, RB, for the congrats.
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Most welcome, my friend. Well earned.
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Richard "RB" Botto One of the producers in this area is in neighboring, to me, Bulgaria and is apparently planning a satellite operation in Greece.
Back during COVID, there was a strong trend of local language in international content. Although the trend continues, it has clearly faded, with a return to accented English to indicate location on many productions.
But the COVID boom in international content seems to have primed audiences to be more open to films and series set in "foreign" locations for the long term. Combined with strong economic incentives, both rebates and lower costs, this bodes well for the industry in Greece, and in Europe more generally.
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International co-productions remain on the rise, Christiane Lange. Already seeing the pregame action for Cannes on this front.
And yes, there is an acceptance (weird to say, but it was out of vogue for a minute) with accented English, but in various areas streamers continue to spend for local language - Netflix in Italy is one of many examples.
But you are 1000% right, COVID changed viewing habits, especially for English speaking countries to be more amenable to watching shows/movies either with subtitles or dubbing.