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World Film Market Trends Tendances Du Marché Mondial Du Film Focus 2006 Focus 2006 World Film Market Trends Tendances Du Marché Mondial Du Film Editorial

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World Film Market Trends Tendances Du Marché Mondial Du Film Focus 2006 Focus 2006 World Film Market Trends Tendances Du Marché Mondial Du Film Editorial World Film Market Trends Tendances du Marché Mondial du Film Focus 2006 focus 2006 World Film Market Trends Tendances du marché mondial du film Editorial Although the term ”globalization ” is carefully Bien que le terme « mondialisation » soit soi- avoided by the film community, it nevertheless gneusement évité par la communauté cinémato- seems to be the most adapted to describe the evo- graphique, il parait le mieux adapté pour décrire lution that the industry has experienced over the l’évolution que notre secteur connaît depuis quel- past years, an evolution that the Marché du Film ques années et dont le Marché du Film donne la is revealing with the phenomenal increase in the mesure par la progression phénoménale de la pré- Asian and Ibero-American attendance. sence asiatique ou ibéro américaine. This ninth edition of FOCUS sheds essential Cette neuvième édition de FOCUS apporte un light on the great movements the film industry éclairage plus que jamais indispensable pour sentir is experiencing with the broadening of horizons, les grands mouvements que connaît l’industrie du the competition of new and huge markets and the cinéma, à l’heure de l’ouverture et de la concur- stakes involved with digital and piracy issues. rence de nouveaux et immenses marchés et face This remarkable work of the European Audio- aux enjeux du numérique et de la piraterie. visual Observatory has been enriched this year with Le travail remarquable de l’Observatoire euro- complementary data and a new page setting in péen de l’audiovisuel s’est enrichi cette année de order to improve further clarity of reading. données complémentaires et d’une nouvelle mise en page afin d’en améliorer encore la lisibilité. Jérôme Paillard Executive Director Jérôme Paillard Directeur Délégué FOCUS 2006 World Film Market Trends, appears FOCUS 2006, Tendances du marché mondial du for the ninth consecutive year. We are pleased to film, paraît pour la neuvième année consécutive. collaborate once again with the Cannes Market Nous nous réjouissons de cette nouvelle collabora- and value highly our work together. tion avec le Marché du Film, à laquelle nous por- tons toute l’estime qu’elle mérite. Wolfgang CLOSS Executive Director Wolfgang CLOSS European Audiovisual Observatory Directeur exécutif Observatoire européen de l’audiovisuel The European Audiovisual Observatory was set up Créé en décembre 1992, l’Observatoire européen in December 1992. It is a public-service body whose de l’audiovisuel est un organisme de service public con- mission is to gather and distribute information on the sacré à la collecte et à la diffusion de l’information sur audiovisual industry (film, television, video and multi- l’industrie audiovisuelle (cinéma, télévision, vidéo et mul- media) in Europe. 36 European states are members, timédia) en Europe. 36 Etats européens en sont membres along with the European Community represented by ainsi que la Communauté européenne représentée par the European Commission. The Observatory operates la Commission européenne. L’Observatoire fonctionne within the framework of an extended partial Agreement dans le cadre d’un Accord partiel élargi du Conseil de of the Council of Europe. It carries out its mission with l’Europe et remplit sa mission avec un réseau de parte- the help of a network of partners, correspondents and naires, de correspondants et d’organismes profession- professional organisations. The Observatory provides nels. L’Observatoire fournit des services d’informations information on markets, financing and legal aspects sur les marchés, les financements et le cadre juridique of the audiovisual sector. du secteur audiovisuel. ➦ Internet site (http://www.obs.coe.int) ➦ Site Internet (http://www.obs.coe.int) Editor: Susan Newman-Baudais [email protected] Analyst, Department for Information on Markets and Financing at the European Audiovisual Observatory focus 2006 Contents Introduction 4 World 7 Europe European Union 10 France 20 Germany 22 Italy 24 Spain 26 United Kingdom 28 Austria - Benelux - Switzerland 0 Nordic countries 2 Central and South-Eastern Europe 4 Russian Federation 5 USA 6 Canada 40 Latin America 42 Australia 44 Asia 46 China - India 48 Japan 50 South Korea 52 Africa - Middle East 54 Sources 56 Introduction A species in greater danger than the Emperor penguin? Is the cinema-goer becoming an endangered species, more so than the Emperor penguin? Shrinking audiences in cinema theatres constituted a global phenomenon in 2005 – in the United States figures were down 8.7% compared with 2004, and the corresponding figures elsewhere were -11.4% in the European Union, -21.7% in Brazil, -10.2% in Australia, and -5.7% in Japan. On the other hand, audiences grew in South Korea (+5.8%), Russia and, very probably, China. Such a drop in numbers on most of the world’s major markets is naturally worrying, and not easy to analyse. Less effective blockbusters 11 in 2004, and just 4 in 2005. It would be worth analysing the characteristics of the genre and the Taking North America and Europe as a whole, sociology of this third category in detail, as this is 247 million fewer tickets were sold in 2005 than in probably where the true explanation for the serious 2004. One explanation may lie in the weaker role drop in numbers in 2005 lies. In 2005 there were played by blockbusters in bringing in the crowds. not enough films on a par with Fahrenheit 9/11 or On this North American and European market, 50 First Dates, both of which attracted specific seg- the number of films seen by more than 50 million ments of the public into cinema theatres. people was 7 in 2001, 8 in 2002, and a steady 6 for the years 200-2005. The top six films were seen by 445.2 million people in 200, compared with No runaway successes among 477 million in 2004 and 40.3 million in 2005. national films in Europe Whereas the leading film Shrek 2 achieved a box office of 11.4 million tickets in 2004, Star Wars: Almost everywhere in Europe, national films Episode III - Revenge of the Sith, which topped the achieved better market shares on their own territory list in 2005, only brought in 92 million. That figure than in 2004. However, this is more a reflection of was nevertheless better than the 85 million viewers the relative weakness of the offering from Hollywood for Attack of the Clones. Similarly, the fourth Harry than an effusion of strong national offerings. In France, Potter was seen by nearly 4 million more people the top-ranking national film, Brice de Nice, sold just than the third film. The audience for fantasy and 4. million tickets, little more than half the figure science fiction films seems to be holding up, but the atypical public who saw The Passion of the Christ of 8. million achieved in 2004 by Les Choristes. In probably did not come back to the cinema in 2005, Germany, Die weiße Massai sold 2.2 million tickets while young children certainly spread their viewing in cinemas, compared with 9.1 million in 2004 for over a greater number of films. (T)Raumschiff Surprise - Periode 1. In Italy, Benigni’s latest film, La tigre e la neve, sold 2.5 million tickets in cinemas, less than the 2.7 million for Il paradiso Weakening of Hollywood’s mid-range movies all’improvviso in 2004. Similarly in Spain 3.5 mil- lion tickets were sold for Torrente 3, El protector, less than the 4 million for Mar Adentro in 2004. In the Again in relation to the market constituted by North America and Europe together, there is a visible United Kingdom, the UK Film Council explains a trend towards a drop in the number of films selling drop in cinema attendance less significant than else- between 25 and 50 million tickets in cinemas; there where (-.8%) by the strong performance of British were 16 of them in 2002, 1 in 200, 12 in 2004, films, which accounted for a 33% market share; and 11 in 2005. The trend is even clearer for the this figure includes, however, a number of “inward third category, i.e. films selling between 20 and 25 investment” films whose fundamental British-ness million tickets in cinemas: there were 12 in 200, has been questioned by the trade press. 4 Introduction Paradoxical that the unauthorised exchange of files via the international successes Internet is continuing to increase. The finger is of course pointed at piracy here. It is common National successes are not necessarily the films sense to argue that consumption free of charge that are most successful on other European mar- is damaging to consumption for which a charge kets and on international markets, and this was is made. Common sense does not always con- particularly true in 2005. Brice de Nice, Die weiße stitute proof, however. The fact that the drop Massai, La tigre e la neve and Torrente 3, El protector in cinema attendance has been less substantial were not widely distributed outside their respec- in countries where broadband networks are the tive countries of origin. The success of European most developed (not to mention the increase in attendance in South Korea, a leading country in films in other European countries is probably less terms of networks) should discourage anyone than in previous years – only 10 films achieved jumping to conclusions. As for the growth of box offices of more than one million tickets in VoD, the operators need to make more of an the European Union outside their national market, effort at transparency for an accurate apprecia- compared with 12 in 2004 and 12 in 200. tion to be possible. Among the European films that came out in We know that penguins’ ability to survive is 2005, the one that was most successful in Europe linked to the instinct that causes them to huddle outside its national market was Woody Allen’s together at regular intervals… as well as to their Match Point, which sold 2.7 million tickets in willingness to walk when necessary to join the Europe in 2005 even before its release in the group.
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