DOCSLIB.ORG

Bsac Film Conference

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bsac Film Conference A conference organised by the British Screen Advisory Council BSAC FILM CONFERENCE MARCH 2007 FOREWORD The British Screen Advisory Council is an independent advisory body to the government and policy makers at national and European level and to the audiovisual industry. It uniquely brings together the widest possible range of UK interests, experiences and contacts in the screen industries. Members include senior management from television, telecommunications and new media companies, international film producers and distributors, cinema exhibitors, technical experts, business people with media interests, media lawyers, communications consultants, TV producers, trade unionists and the heads of training and trade organisations. BSAC regularly commissions and oversees research on the audiovisual industry and uses its research to underpin is policy documents. In addition to regular monthly meetings, BSAC organises informative events including seminars, conferences and industry briefings, all of which provide valuable networking opportunities. BSAC relies on industry funding for its activities and we are therefore particularly grateful to Time Warner for sponsoring this event. BSAC also wishes to express its gratitude to all the speakers and panellists at the conference for their interesting contributions. The Chair of the conference was John Howkins, Deputy Chairman, BSAC and Director, HandMade plc. Please note that the speakers’ presentations and panel sessions in this report are edited transcripts. Presentation slides are available on request, or on BSAC’s website (www.bsac.uk.com). 1 TIME WARNER Time Warner Inc. is a leading media and entertainment company, whose businesses include filmed entertainment, television channels, interactive services, publishing and cable systems. In Europe, Time Warner’s businesses include Warner Bros. Entertainment, New Line Cinema, Home Box Office, Turner Broadcasting System, Time Inc. and AOL. Warner Bros. Entertainment Warner Bros. Entertainment is a global leader in the creation, distribution, licensing and marketing of theatrical motion pictures, TV programming, animation, video/DVD and related products. In Europe, Warner Bros. is also committed to producing and distributing local productions. Films currently being produced in the UK include: Harry Potter and the Goblet of Fire, Sweeney Todd, Fred Clause and Batman - The Dark Knight. New Line Cinema Celebrating its 40th anniversary year, New Line Cinema is the most successful independent film company in the world. Its mission is to produce innovative, popular and profitable entertainment in the best creative environment. In 2005, New Line partnered with HBO to form Picturehouse, a theatrical distribution company that releases independent films. In 2006 – just a year after the company's inception – Picturehouse released Guillermo del Toro's Pan's Labyrinth, which won three Academy Awards and three BAFTA’s. A pioneer in franchise filmmaking, New Line’s Oscar-winning The Lord of the Rings trilogy is one of the most successful film franchises in history. Upcoming New Line releases include Hairspray, the film adaptation of the Tony Award-winning musical, Rush Hour 3, and Fracture starring Oscar-winner Anthony Hopkins. In addition, New Line will release The Golden Compass, based on the first book in Philip Pullman’s trilogy “His Dark Materials” and starring Nicole Kidman and Daniel Craig, in 2007 and Inkheart, starring Helen Mirren and Brendan Fraser in 2008, both of which were produced in the UK. Turner Broadcasting System Turner Broadcasting System is a major leader in news and entertainment around the world. In Europe Turner delivers cable and satellite television channels and Web sites, including CNN International, Cartoon Network, Turner Classic Movies, Boomerang and Toonami. 2 Home Box Office HBO is America’s most successful premium television network, whether measured by subscribers, profitability, viewers, awards or critical acclaim. HBO sells its original programming such as The Sopranos, Entourage and Sex and the City to broadcasters throughout Europe. HBO’s film division is involved in local productions such as Longford and Tsunami and the distribution of such acclaimed HBO Films as Gus Van Sant’s Palme d’Or winning Elephant and 2007 Sundance winner for Best Director Rocket Science. In 2005, HBO partnered with New Line to form Picturehouse, a theatrical distribution company that releases independent films. In 2006 – just a year after the company's inception – Picturehouse released Guillermo del Toro's Pan's Labyrinth, which won three Academy Awards and three BAFTA Awards. HBO Central European ventures offers basic and pay television channels throughout Central Europe. Time Inc. Time Inc. is the world's leading magazine publisher. Its more than 130 magazines reach total audiences of more than 300 million worldwide. In Europe, Time Inc. offers readers the best in serious journalism, including Time and Fortune, as well as popular consumer magazines. Time’s IPC Media is the UK’s largest consumer magazine publisher, with over 100 titles including Country Life, Loaded and Marie Claire. America Online AOL is a global Web services company that operates some of the most popular Web destinations, offers a comprehensive suite of free software and services and provides a full set of advertising solutions. A majority-owned subsidiary of Time Warner Inc., AOL LLC is based in Dulles, Virginia. AOL and its subsidiaries also have operations in Europe, Canada and Asia. 3 CONTENTS CONFERENCE CHAIRMAN’S WELCOME AND INTRODUCTION 5 John Howkins, Deputy Chairman, BSAC and Director, HandMade plc KEYNOTE ADDRESSES 6 Casey Harwood, Senior VP of Digital Media, Turner Broadcasting System Europe Ltd Patrick Walker, Head of Content Partnerships, Google Video, EMEA FILM INDUSTRY PRESENTATION 10 Ben Keen, Chief Analyst and Director, Screen Digest DIGITAL CINEMA 13 Panel Chair: Patrick von Sychowski, Consultant Anders Geertsen, Head of the Commercial Module, European Digital Cinema Forum and Director, Distribution and Marketing, Danish Film Institute Rob Kenny, Operations Manager, Curzon Cinemas Tom Cotton, VP of Business Development, Technicolor Digital Cinema, Europe Alex Stolz, Distribution and Exhibition Executive, UK Film Council Gerald C. Buckle, Digital Development Manager, Odeon & UCI Cinemas ENTERTAINMENT ON THE MOVE 22 Panel Chair: Ajay Chowdhury, General Partner, Acacia Capital Partners Stuart Collingwood, VP EMEA, Sling Media Peter Walker, VP of Strategy, Bango Dominic Strowbridge, Marketing Director, BT Movio Damian Mulcock, CEO, Mobix Interactive Ltd Graeme Oxby, Marketing Director, 3 Tony Pearce, CEO, Player X PRICING FILMED ENTERTAINMENT AND THE IMPACT ON 34 FINANCING MODELS Panel Chair: Mark Devereux, Senior Partner, Olswang Cameron McCracken, MD, Pathé Distribution UK Ltd Paul Grindey, Head of Commercial Affairs, Film4 Neil Martin, Corporate Development Director, Sky CRYSTAL BALL GAZING: FINAL ROUND UP SESSION WITH LEADING 45 INDUSTRY FIGURES Conference Chair: John Howkins, Deputy Chairman, BSAC and Director of HandMade plc Bob Pisano, President and COO, Motion Picture Association of America Michael Kuhn, Director, Qwerty Films Sophie Balhetchet, Co-founder, Cougar Films Peter Carlton, Senior Commissioning Executive, Channel 4 Jane Wright, Head of Rights and Commercial Affairs, BBC Films Adam Singer, Consultant, Cordelia UK Ltd 4 CHAIRMAN'S INTRODUCTION John Howkins, Deputy Chairman, BSAC and Director, HandMade plc The Chair welcomed guests to the conference, and said that the discussions during the day would explore the effects of new technologies on film companies and their strategies going forward. He said that rather than focusing on the technologies John Howkins themselves, the presentations and panels would focus on how producers, distributors, studios and also consumers are reacting to the changes taking place – and where this was expected to take the film industry over the next few years. Consumer expectations are changing - in terms of how they watch, when they watch, whether they want to watch in a cinema or at home, and whether they want to watch on a TV or a computer. This of course has profound consequences for film companies and their business models. The Chair thanked Time Warner for its ongoing support in sponsoring the event for the fourth year running, enabling BSAC to put together a first-class programme. 5 KEYNOTE ADDRESS MEDIA FRAGMENTATION Casey Harwood, Senior VP of Digital Media, Turner Broadcasting System Europe Ltd Digital Media is a new group within Turner, which has a remit to bring Turner into the digital age, without turning the old business upside down. As we all know, life has changed quite significantly in the last few years. Things used to be simple – Casey Harwood either content was provided free, reliant on advertising sales – or it was provided via pay TV, which relied mainly on licensing fees and perhaps some advertising. Movies and sports were generally regarded as the main drivers of platform growth. But then digital came along, which significantly lowered the barriers to entry. Looking at the number of channels on Sky now – there are 14 news channels, 24 kids channels, 26 movie channels – and 55 Sky Box Office channels. And then just around the corner for TV is the Internet. The Internet really does democratise content, to the extent that the supply chain is collapsing – and this collapse is not unique to media. We’ve got telcos selling TV, the BBC is launching its own satellite platform, I can buy a sandwich
Load more

Recommended publications
  • 2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
    Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p.
    [Show full text]
  • Translation Rights List Non-Fiction May 2019
    Translation Rights List Including Non-Fiction May 2019 Contents • Rights Department p.3 • Little, Brown Imprints p.4 • General p.5 • Culture p.13 • Business & Management p.19 • History p.22 • Music p.28 • Memoirs & Biography p.34 • Sport p.39 • Travel & Nature p.41 • Health, Self-Help & Popular Psychology p.42 • Parenting p.48 • Food & Cookery p.53 • Overcoming Series p.56 • Rights Representatives p.59 Key • Rights sold displayed in parentheses indicates that we do not control the rights • An asterisk indicates a new title since previous Rights list • Titles in italics were not published by Little, Brown Book Group 2 Rights Department ANDY HINE Rights Director Brazil, Germany, Italy, Poland, Scandinavia, Latin America and the Baltic States [email protected] +44 (0) 20 3122 6545 KATE HIBBERT Rights Director USA, Spain, Portugal, Far East, the Netherlands, Flemish Belgium and the Indian Subcontinent [email protected] +44 (0) 20 3122 6619 HELENA DOREE Senior Rights Manager France, French Belgium, Turkey, Arab States, Israel, Greece, Bulgaria, Czech Republic, Slovak Republic, Hungary, Romania, Russia, Serbia and Macedonia [email protected] +44 (0) 20 3122 6598 HENA BRYAN Rights Trainee [email protected] +44 (0) 20 3122 0693 Little, Brown Book Group Follow us on Twitter: Carmelite House @LBBGRights 50 Victoria Embankment London EC4Y 0DZ UNITED KINGDOM 3 Little, Brown Imprints 4 General Highlights WHEN THE CLOUDS FELL FROM THE SKY THE ADVENTURES OF AZUKI 5 THE ADVENTURES OF AZUKI THE MINIATURE HEDGEHOG Humour| Robinson | 112pp |60 colour photographs| September 2019 A full-colour collection of photographs of the adorable Azuki, the miniature hedgehog, enjoying some of his favourite adventures, from camping to baking Riding on the popularity of everyone's favourite Insta-famous miniature hedgehog (400,000 followers on Instagram and counting), this adorable illustrated book stands out as a gem of originality among the glut of dog and cat books.
    [Show full text]
  • Cheltlf12 Brochure
    SponSorS & SupporterS Title sponsor In association with Broadcast Partner Principal supporters Global Banking Partner Major supporters Radio Partner Festival Partners Official Wine Working in partnership Official Cider 2 The Times Cheltenham Literature Festival dIREctor Festival Assistant Jane Furze Hannah Evans Artistic dIREctor Festival INTERNS Sarah Smyth Lizzie Atkinson, Jen Liggins BOOK IT! dIREctor development dIREctor Jane Churchill Suzy Hillier Festival Managers development OFFIcER Charles Haynes, Nicola Tuxworth Claire Coleman Festival Co-ORdinator development OFFIcER Rose Stuart Alison West Welcome what words will you use to describe your festival experience? Whether it’s Jazz, Science, Music or Literature, a Cheltenham Festival experience can be intellectually challenging, educational, fun, surprising, frustrating, shocking, transformational, inspiring, comical, beautiful, odd, even life-changing. And this year’s The Times Cheltenham Literature Festival is no different. As you will see when you browse this brochure, the Festival promises Contents 10 days of discussion, debate and interview, plus lots of new ways to experience and engage with words and ideas. It’s a true celebration of 2012 NEWS 3 - 9 the power of the word - with old friends, new writers, commentators, What’s happening at this year’s Festival celebrities, sports people and scientists, and from children’s authors, illustrators, comedians and politicians to leading opinion-formers. FESTIVAL PROGRAMME 10 - 89 Your day by day guide to events I can’t praise the team enough for their exceptional dedication and flair in BOOK IT! 91 - 101 curating this year’s inspiring programme. However, there would be no Festival Our Festival for families and without the wonderful enthusiasm of our partners and loyal audiences and we young readers are extremely grateful for all the support we receive.
    [Show full text]
  • Queen Elizabeth
    The British monarchy on screen oving images of the British monarchy, in fact and fiction, are almost as M old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new ‘animated photography’ from 1896. Half a The British century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century’s end, Princess Diana’s funeral was viewed by 2.5 billion worldwide. monarchy Historians have argued that the power of the image has bolstered the British monarchy as its political power has waned, but media scholars have been slow to examine how that power has been secured by royal self-promotion, entrepreneurial on screen deference, narrative sympathy, reportorial discretion and spectacular exhibition. In the first book-length examination of film and television representations of this enduring institution, distinguished scholars of media and political history analyse the screen representations of royalty from Henry VIII to ‘William and Kate’. Among their concerns are the commercial value of royal representations, the convergence of the monarch and the movie star, and the historical use of the moving image to maintain the Crown’s legitimacy. Seventeen essays by international commentators examine the portrayal of royalty in the ‘actuality’ picture, the early extended feature, amateur cinema, Edited by Mandy Merck the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set.
    [Show full text]
  • Aitken Alexander Associates Limited
    AITKEN ALEXANDER ASSOCIATES LIMITED Speaker/Presenter/Factual TV list If you would like more information about any of the authors listed here please contact Steph Adam [email protected] Tel: 020 3589 6884 Amelia Abraham Subjects – LGBTQ politics, feminism Twitter | Instagram Amelia Abraham (b. 1991) is a journalist from London. Having worked as a commissioning editor at VICE and Refinery29, she is now an editor at Dazed. As a freelance writer, she has regularly contributed to the Guardian, the Observer, the Independent, the Sunday Times, the New Statesman, ES Magazine, VICE, i-D magazine, Vogue, Dazed and others. As well as feminist issues, human rights issues, news, health and arts & culture, Amelia’s main writing interest is LGBTQ identity politics, and she has hosted documentaries, film screenings, performances and panel discussions around this topic. Her first book, Queer Intentions, will be published by Picador in May 2019. Philip Ball Subjects – science, music, art Website | Twitter Philip Ball is a freelance science writer. He worked at Nature for over 20 years, first as an editor for physical sciences (for which his brief extended from biochemistry to quantum physics and materials science) and then as a Consultant Editor. His writings on science for the popular press have covered topical issues ranging from cosmology to the future of molecular biology. Philip is the author of many popular books on science, including works on the nature of water, pattern formation in the natural world, colour in art, the science of social and political philosophy, the cognition of music, and physics in Nazi Germany.
    [Show full text]
  • Hands on Media History;A New Methodology in the Humanities And
    HANDS ON MEDIA HISTORY Hands on Media History explores the whole range of hands on media history techniques for the first time, offering both practical guides and general perspectives. It covers both analogue and digital media; fi lm, television, video, gaming, photography and recorded sound. Understanding media means understanding the technologies involved. The hands on history approach can open our minds to new perceptions of how media technologies work and how we work with them. Essays in this collection explore the difficult questions of reconstruction and historical memory, and the issues of equipment degradation and loss. Hands on Media History is concerned with both the professional and the amateur, the producers and the users, providing a new perspective on one of the modern era’s most urgent questions: what is the relationship between people and the technologies they use every day? Engaging and enlightening, this collection is a key reference for students and scholars of media studies, digital humanities, and for those interested in models of museum and research practice. Nick Hall lectures in film, television and media technologies at Royal Holloway, University of London. His fi rst book, The Zoom: Drama at the Touch of a Lever, was published in 2018. He has also been published in the journals Technology & Culture and the Historical Journal of Film, Radio and Television. John Ellis is a professor at Royal Holloway, University of London. He wrote Visible Fictions (1982), Seeing Things (2000) and Documentary: Witness and Self-Revelation (2012). Between 1982 and 1999 he ran the independent production company Large Door, making documentaries for Channel 4 and the BBC.
    [Show full text]
  • The British Monarchy on Screen
    The British monarchy on screen oving images of the British monarchy, in fact and fiction, are almost as M old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new ‘animated photography’ from 1896. Half a The British century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century’s end, Princess Diana’s funeral was viewed by 2.5 billion worldwide. monarchy Historians have argued that the power of the image has bolstered the British monarchy as its political power has waned, but media scholars have been slow to examine how that power has been secured by royal self-promotion, entrepreneurial on screen deference, narrative sympathy, reportorial discretion and spectacular exhibition. In the first book-length examination of film and television representations of this enduring institution, distinguished scholars of media and political history analyse the screen representations of royalty from Henry VIII to ‘William and Kate’. Among their concerns are the commercial value of royal representations, the convergence of the monarch and the movie star, and the historical use of the moving image to maintain the Crown’s legitimacy. Seventeen essays by international commentators examine the portrayal of royalty in the ‘actuality’ picture, the early extended feature, amateur cinema, Edited by Mandy Merck the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set.
    [Show full text]
  • Sun, Sex and Slaughter on the Riviera
    July/August 2017 Sun, sex and slaughter on the Riviera Journal of The Royal Television Society July/August 2017 l Volume 54/7 From the CEO I am thrilled that this him talk so eloquently on the subject responsible for two of ITV’s most edition of Television of making shows that can perform important and venerable shows, Coro- features some of the successfully in global markets – and nation Street and Emmerdale. He reckons giants of British pro- keeping hit formats on form. he’s got the best job in television. duction. The CEO and Peter also provided us with some Nicknamed the “Pope of soap”, John co-founder of Left interesting insights into his distin- is a brilliantly funny writer, so don’t Bank Pictures, Andy guished career at the BBC. I am grate- miss his Our Friend column. Thank Harries, is interviewed as his com- ful to him and to the event’s chair, you, John, for finding the time to write pany celebrates 10 years in business. Kate Bulkley, for making this such an this as Corrie gears up for a fifth weekly Andy and his colleagues at Left informative and entertaining evening. episode. Bank have much to be proud of, not We also have a profile of Alex Mahon, Finally, Cambridge is drawing near. least The Crown, and I am so pleased Channel 4’s new Chief Executive, More new speakers have been added that he will be speaking at Cambridge. written by Maggie Brown. I have been to the line-up. Enjoy the summer Earlier this month, a large crowd privileged to work a little with Alex in break, but please don’t forget to secure turned out on a hot, sticky night to her role as Chair of the RTS Programme your place before you pack those hear Peter Salmon, Endemol Shine’s Awards.
    [Show full text]
  • Annual Report 2016 03 Contents
    CHANNEL 4: CHANNEL CHAMPIONING CREATIVITY, DIVERSITY AND INNOVATION THROUGHOUT THE UK THE THROUGHOUT INNOVATION AND DIVERSITY CREATIVITY, CHAMPIONING CHANNEL FOUR TELEVISION CORPORATION REPORT AND FINANCIAL STATEMENTS 2016 STATEMENTS FINANCIAL AND REPORT CORPORATION TELEVISION FOUR CHANNEL CHANNEL 4: DRIVINGAND CREATIVITY DIVERSITY THROUGHOUT THE UK CHANNEL FOUR TELEVISION CORPORATION REPORT AND FINANCIAL STATEMENTS 2016 Channel Four Television Corporation Report and Financial Statements 2016 Incorporating the Statement of Media Content Policy Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 annualreport.channel4.com PLEASE CONTACT US VIA OUR WEBSITE (CHANNEL4.COM/CORPORATE) IF YOU’D LIKE THIS IN AN ALTERNATIVE FORMAT SUCH AS BRAILLE, LARGE PRINT OR AUDIO. Printed by CPI Colour on FSC® certified paper. CPI Colour’s environmental management system is certified to ISO 14001, and is accredited to FSC® chain of custody scheme. CPI Colour is a certified ® CarbonNeutral company and offsets its CO2 emissions. CPI Colour use vegetable based inks. This document is printed on Heaven 42, a paper containing 100% virgin fibre sourced from well-managed, responsible, FSC® certified forests. Some pulp used in this product is bleached using an elemental chlorine free (ECF) process and some using a totally chlorine free (TCF) process. CHANNEL 4 ANNUAL REPORT 2016 03 CONTENTS OVERVIEW STATEMENT OF MEDIA CONTENT POLICY FINANCIAL REPORT AND STATEMENTS Chair’s Statement 04 Remit performance Strategic report 104
    [Show full text]
  • US Rights List London Book Fair 2019
    US Rights List London Book Fair 2019 Little, Brown Book Group Carmelite House 50 Victoria Embankment London EC4Y 0DZ UNITED KINGDOM 1 KATE HIBBERT Rights Director [email protected] +44 (0) 20 3122 6619 Contents • Fiction p. 3 • Non-Fiction p. 19 Key • An asterisk indicates a new title since Frankfurt Book Fair 2018 • Titles in italics were not published by Little, Brown Book Group 2 * STONE COLD TROUBLE: Book 2 in the Zaq & Jags Series by Amer Anwar Contemporary Fiction | Dialogue | 400pp | November 2019 Follow up to the hugely successful London crime debut, BROTHERS IN BLOOD STONE COLD TROUBLE opens a few months after BROTHERS IN BLOOD when Zaq receives a phone call telling him his brother Tariq has been the victim of a brutal assault. Zaq races to the hospital where he discovers that Tariq was set upon by a group of Asian men after leaving a pub in Uxbridge. The police don’t have much to go on and furthermore, they don’t particularly seem to care, so Zaq takes it upon himself to investigate. Meanwhile, Jags also needs Zaq’s help. His aunt’s diamond necklace, which has been in the family for generations, has been used by his uncle as collateral in a card game instead, and never returned. The men who have it refuse to give it back even when offered the cash. They can sense something fishy is going on, otherwise why aren’t the police involved? Jags’ uncle asks Zaq and Jags to get it back before his aunt notices it’s gone and before anyone else discovers its true origin.
    [Show full text]