Lenders Presentation 19 July 2016

Total Page:16

File Type:pdf, Size:1020Kb

Lenders Presentation 19 July 2016 Lenders Presentation 19 July 2016 First Vue branded site in the Netherlands opened in Alkmaar in February 2016 R: 0 Important Information G: 32 B: 96 R: 0 G: 112 IMPORTANT: You must read the following before continuing B: 192 PRESENTATION OF FINANCIAL DATA This presentation should be read in conjunction with the Vougeot Bidco plc (“Bidco”) Quarterly Report (the “Report”) to Noteholders for the period ended 26 May 2016 (“Q2 2016”) released on Tuesday 19th July 2016 and in particular the statements made on page 2 of the Report (which are incorporated into this presentation). This report is available on our website at R: 197 http://corporate.myvue.com/home/investor-relations G: 217 This document and the information contained herein (the “Company Presentation”) has been prepared solely for the purpose of discussions between Bidco, its advisers and certain lenders in relation to the proposed transactions referred to in this Company Presentation and should not be used by any recipient (each a “Recipient”) for any other purpose. The Company Presentation is not intended B: 241 to be (and should not be used as) the sole basis of any credit analysis or decision or other evaluation, it does not purport to be all-inclusive or to contain all of the information that a prospective participant may require and should not be considered as a recommendation by any person that any Recipient should participate in any transaction described in this Company Presentation (or any other transaction). In receiving and retaining the Company Presentation, you are deemed to have accepted and agreed to the terms hereof. R: 255 None of Bidco, or any of its respective affiliates, makes any representation or warranty that the Company Presentation is sufficient for any such credit analysis or decision. G: 192 The Company Presentation, and any proposals contained in the document, are indicative only, they are not binding, do not create any legal obligations, do not constitute or act as an inducement to enter into any contract or commitment and should not be considered as an offer, or invitation or recommendation by Bidco or its affiliates to participate in the proposals. B: 0 The information in the Company Presentation has not been independently verified, and it should not be relied upon and the information in this document addresses certain specific circumstances as at the date they were prepared. No representation or warranty (whether express or implied) is given by Bidco or any of its affiliates or its affiliates’ respective directors, officers, employees, agents, partners, representatives or professional advisers make any representation or warranty or undertaking of any kind, express or implied, nor do they accept or assume any responsibility or liability of R: 237 any kind as to the correctness or completeness of this Company Presentation in particular in respect of forward-looking statements, including the achievement or reasonableness of management estimates, opinions, targets or other future projections. Any such forward-looking statements or future projections are subject to various risks and uncertainties, many of which are difficult to predict, G: 145 that could cause actual results and developments to differ materially from those expressed in, or implied or projected by, the forward-looking statements and future projections. Accordingly, there can be no assurance that any estimates, targets or projections are attainable or will be realized. In the event any of the assumptions used in this Company Presentation do not prove to be true, results B: 49 are likely to vary substantially from those discussed herein. The delivery of this Company Presentation to any person at any time after the date hereof does not imply, and is not intended to imply, that the information contained herein is correct at any time after the date of this Company Presentation or that there has been no change in the business, financial condition, prospects, credit worthiness, status or affairs of Bidco or its affiliates since the date of R: 112 this Company Presentation. G: 173 B: 71 R: 193 G: 42 B: 42 R: 217 G: 151 2 2 B: 149 R: 0 Agenda and Today’s Speakers G: 32 B: 96 R: 0 G: 112 B: 192 Section 1: JT Bioscopen Acquisition (Q3 FY2015) R: 197 G: 217 Section 2: JT Bioscopen Acquisition Refinancing (Q3 FY2016) B: 241 R: 255 Q&A G: 192 B: 0 R: 237 G: 145 B: 49 R: 112 G: 173 B: 71 R: 193 Tim Richards Alan McNair Steve Knibbs Alison Cornwell G: 42 CEO Deputy CEO COO CFO B: 42 R: 217 G: 151 3 3 B: 149 R: 0 Agenda G: 32 B: 96 R: 0 G: 112 B: 192 Section 1: JT Bioscopen Acquisition (Q3 FY2015) R: 197 G: 217 B: 241 Section 2: JT Bioscopen Acquisition Refinancing (Q3 FY2016) R: 255 Q&A G: 192 B: 0 R: 237 G: 145 B: 49 R: 112 G: 173 B: 71 R: 193 G: 42 B: 42 R: 217 G: 151 4 4 B: 149 Transaction Rationale R: 0 G: 32 Continuation of Vue’s Strategy to Expand Into Attractive European Markets B: 96 R: 0 • Expansion into an attractive and growing market Reinforce Vue Positioning in the European Market… G: 112 – The Netherlands has seen growing admissions, GBOR # of Screens (Latest Reported) B: 192 and screen / site figures over the last decade Includes 113 2,238 screens from JT – Screen penetration still remains below most Western 2,011 European markets 1,866 R: 197 G: 217 • High-quality asset with strong management in place 1,008 B: 241 – JT Bioscopen’s circuit is well-maintained and has been at 1,753 504 499 491 the forefront of technological development – Enthusiastic, smart and motivated senior team with R: 255 significant experience in the sector G: 192 • Significant value creation opportunity B: 0 – Vue will generate additional value through areas including pricing strategies, procurement, EEC and R: 237 further new site development …While Ensuring Further Geographic Diversification G: 145 – Business integration followed a process similar to the Revenue by Country (Pro-forma FY2015) B: 49 “100 day plan” which was successfully adopted for The 1% 1% Space Cinemas 5% 17% R: 112 • Strengthening of Vue’s position in the European Cinema 17% G: 173 market 9% 48% 46% B: 71 – Successful track-record of identifying and integrating 8% acquisition opportunities 25% – Transaction strengthens Vue Group’s position in Europe 23% R: 193 with presence in ten countries, 210 sites and 1,866 G: 42 screens at the end of May 2016 UK & Ireland Germany & Denmark Poland & Baltics B: 42 – Further reduces slate risk through international Italy Netherlands Taiwan diversification R: 217 G: 151 Source: Company Data 5 5 B: 149 Attractive and Growing Dutch Cinema Market R: 0 G: 32 Growing Admissions, GBOR and Screen / Site Over the Last Decade B: 96 R: 0 • Dutch admissions have shown an upwards trajectory over Admissions (m) (1) G: 112 the last 11 years, whereas other Western European +10 3.3% CAGR ’04-’15A B: 192 countries, including the UK and Germany, have remained 27.3 28.2 30.5 30.6 30.8 30.8 33.0 broadly flat with annual spikes / troughs driven by the 23.0 20.6 23.4 23.1 23.5 film slate R: 197 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 G: 217 • Screen / site numbers have also been increasing with a net B: 241 177 screens having been added, an increase of 28.4% since GBOR (m) (1) +122 2004, an average of 16 screens each year 5.4% CAGR ’04-’15A 240 245 250 250 276 R: 255 201 219 • Despite the increase, screen penetration levels remain 154 135 156 160 165 G: 192 below almost all other Western European markets at 4.8 B: 0 screens per 100k population, compared to 5.9 in the UK 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 and 5.7 in Germany, indicating potential for further roll out Screens (1) R: 237 +177 G: 145 • The average number of cinema visits per person per year 2.3% CAGR ’04-’15A has increased across the same period to 2.0 as of 2015, 756 771 800 B: 49 623 625 629 630 649 661 707 721 738 well below France (3.1) and the UK (2.7), and broadly in line with Belgium (1.9), Sweden (1.8), Germany (1.7) and R: 112 Italy (1.6) 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 G: 173 • Market ATP(3) is comparable to the UK and Germany, higher Screens per 100k Population (2) B: 71 than the majority of other markets in which Vue operates Average: 7.4 12.5 10.7 and higher than France and other Benelux markets 8.6 8.4 8.6 8.6 R: 193 7.1 5.7 6.3 6.2 5.5 6.8 5.9 4.8 4.6 G: 42 USA Denmark Germany Italy Norway Spain Switzerland B: 42 Netherlands Belgium France Ireland Luxembourg Portugal Sweden UK Source: Dodona, IHS, Euromonitor (1) Admissions, GBOR and Screens data from Dodona to FY2013. Data for 2014 and 2015 from IHS R: 217 (2) Screens per capita data per IHS and Eurostat (2015) G: 151 (3) Average ticket price 6 6 B: 149 Strong Contribution & Diversification from Local Content R: 0 G: 32 Nearly 20% of GBOR in the Netherlands Is Generated Through Local Content B: 96 R: 0 • Netherlands, in keeping with most European territories, 2012 2013 G: 112 has developed in recent years a vibrant local film Dutch GBOR €m Admits m Dutch GBOR €m Admits m 1 Alles is Familie 5.2 0.64 1 Verliefd op Ibiza 5.8 0.71 B: 192 production industry that supplies successful commercial 2 Mees Kees 3.9 0.57 2 De Nieuwe Wildernis 5.2 0.69 local language films to the market 3 Allen Maar Nette Mensen 2.6 0.32 3 Spijt 3.1 0.42 4 De Marathon 2.3 0.29 4 Mannenharten 3.1 0.38 5 Achtse Groupers Hulien Niet 2.0 0.28 5 Soof 2.5 0.31 R: 197 • Local productions are supported by the Netherlands Film Other 21.2 2.89 Other 28.3 3.82 G: 217 Fund, which has provided over €30m per annum over Total 37.2 4.99 Total 48.0 6.32 International International B: 241 recent years, mainly to fund Dutch movie productions, as 1 Skyfall 17.1 1.98 1 The Hobbit 2 8.1 0.78 2 Intouchables (France) 9.7 1.21 2 Despicable Me 2 7.7 0.92 well as other areas including distribution.
Recommended publications
  • Kinepolis Group Business Update Q1 2016 Regulatory Release - 11 May 2016
    Kinepolis Group Business Update Q1 2016 Regulatory release - 11 May 2016 First quarter 20161 Compared to the same period last year, Kinepolis registered in the first quarter of 2016 more visitors, higher revenue per visitor in all countries and a positive contribution of the recently acquired cinemas to the turnover and EBITDA development at Group level. The net current profit also rose, both overall and per visitor. This generated the following figures: A rise in visitor numbers of 26.8% to 6.7 million, thanks to the expansion of the Group, a strong film offer and recovering consumer confidence in Spain. A stronger increase in total revenue compared to visitor numbers, due to the higher revenue per visitor. A rise in current2 EBITDA3, both overall and per visitor, thanks to the rise in total re- venue and a further improvement in operating efficiency. An increase in net current profit, in spite of the increased tax burden. A decrease in the net financial debt compared to 31 December 2015, thanks to the favourable operating cash flow and in spite of investments in the further expansion of the Group. Between 1 January and 31 March 2016, Kinepolis welcomed 6.7 million visitors, 26.8% more than in the same period last year. This rise is due to the addition of acquired and new cinemas, after the acquisi- tion of nine Utopolis cinemas4 and the cinema in Bourgoin (France) in 2015, as well as the acquisition of the cinema in Rouen (France) and the opening of Kinepolis Dordrecht (the Netherlands) at the begin- ning of 2016.
    [Show full text]
  • Entertainment & Media Outlook for the Netherlands 2016-2020
    Entertainment & Media Outlook for the Netherlands 2016-2020 ‘The converging media landscape’ www.pwc.nl/outlook TV B PwC Entertainment & Media Outlook for the Netherlands 2016-2020 At PwC, our purpose is to build trust in society and solve important problems. We’re a network of firms Entertainment & Media Outlook in 157 countries with more than 208,000 people. At PwC in the Netherlands over 4,400 people work together. We’re committed to delivering quality in for the Netherlands 2016-2020 assurance, tax and advisory services. Tell us what matters to you and find out more by visiting us at www.pwc.nl. Entertainment & Media Outlook for the Netherlands 2016-2020 16th annual edition, October 2016 Each year, PwC’s global and local teams of entertainment and media experts generate unbiased, in-depth forecasts for 13 industry segments. The Entertainment & Media Outlook for the Netherlands 2016-2020 combines thorough knowledge of the Dutch market with a truly global perspective – a powerful tool for understanding critical business issues. To learn more about the challenges and opportunities ahead for the entertainment and media industry, please contact Ennèl van Eeden via +31 (0)88 792 45 40 or [email protected] TV 2 PwC Entertainment & Media Outlook for the Netherlands 2016-2020 Welcome to the PwC Entertainment & Media Outlook for the Netherlands 2016-2020 Dear Outlook reader, Hardly any industry is more impacted by technological developments, globalisation, digitisation and changing consumer behaviour than the Entertainment and Media industry. Not a single day passes by without the emergence of interesting and often unexpected new developments.
    [Show full text]
  • Film Facts & Figures
    FILM FACTS & FIGURES OF THE NETHERLANDS JUNE 2020 ISSUE GHF 2015 2016 2017 2018 2019 THEY CALL ME BABU 27+29+31+34+39TOTAL REVENUES DUTCH MARKET (M) € CONTENT 31+25+27+35+29DUTCH FEATURES PRODUCED NL Key Trends 2015-2019 2 28+22+22+28+40TOTAL DUTCH FILM PRODUCTION ACTIVITY (M) € Review of 2019 4 Chapter 1 Production and Financing 7 37+40+43+48+49FEATURE LENGTH FILMS RELEASED Chapter 2 Releases 19 Chapter 3 International Performance and Festivals 23 Chapter 4 Distribution 31 28+26+27+33+27DUTCH FEATURES RELEASED (MAJ) Chapter 5 Exhibition 37 Chapter 6 DVD/Blu-ray/VOD 43 43+54+49+45+57INT. FILM FESTIVALS W. DUTCH FILM SELECTION Chapter 7 Television/MEDIA 47 Key figures of the Netherlands 2019 64 33+34+36+36+38ADMISSIONS TOTAL (M) 31+21+21+20+23ADMISSIONS DUTCH FILMS (M) 28+29+30+31+35BOX OFFICE TOTAL (M) € NL KEY TRENDS 2015-2019 19+12+12+11+12LOCAL MARKET SHARE DUTCH FILMS (ADM) 2015 2016 2017 2018 2019 Total revenues Dutch market (M) € 532 579 628 688 781 Dutch features produced (min & maj) 62 49 54 57 58 29+24+21+22+24MARKET SHARE EU FILMS (ADM) Total Dutch film production activity (M) € 136.9 105.9 108.3 140.9 201.1 Feature length films released 371 407 432 480 492 Dutch features released (maj & min) 55 51 54 66 55 29+24+21+22+24MARKET SHARE US FILMS (ADM) Int. film festivals w. Dutch film selection 432 540 491 452 569 Admissions total (M) 33 34.2 36.0 35.7 38.0 Admissions Dutch films (M) 6.2 4.2 4.3 3.9 4.5 Box office total (M) € 275.8 287.7 301.9 312.3 347.6 Local market share Dutch films (adm) 18.8% 12.3% 12.0% 11.2% 11.8% 27+28+21+22+24NUMBER
    [Show full text]
  • Development Programme Book of Projects 2009
    Dvbook of projects 2009 Development Programme MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER IL CINEMA In 2008, the specific aspects of the so-called TorinoFilmLab invites filmmakers to enter a “cinema system” rooted within Torino and Piedmont collaborative process throughout the whole path - characterised by numbers of successful initiatives that brings a story from the intimacy of the artist’s such as Film Commission Torino Piemonte, the mind to the possibility of sharing it with the public. National Cinema Museum, the Torino Film Festival, Script&Pitch Workshops - represented a strong At every step, there are chances to explore, to doubt, basis for the creation of a permanent international to change, to improve, and at every step, there is laboratory, TorinoFilmLab, destined to accompany someone that can listen, help, bring advice. There talents for a reasonable amount of time through is a whole bunch of people out there that can different steps: starting from when the film’s make a filmmakers’ life, if not easier, at least richer story and structure are first thought of, following in opportunities, and this mostly before the film is through the development stage, up to the process made. People who share a passion for stories, and of financing and possibly rewarding some of the are willing to help creating the right context so that selected projects with a production grant. stories can travel far: scriptwriters, story editors, directors, directors of photography, sound designers, TorinoFilmLab Thanks to the support of the Italian Ministero per producers, sales agents, distributors, financiers. i Beni e le Attività Culturali, the Regione Piemonte TorinoFilmLab works to facilitate these encounters, and Città di Torino we have found the necessary each one at the right time.
    [Show full text]
  • Film Facts and Figures of the Netherlands
    Film facts and figures of The Netherlands SEPTEMBER 2014 1 Content 4 Introduction 5 Key Figures 7 chapter 1 Production and Financing 17 chapter 2 Releases 20 chapter 3 Dutch films internationally 24 chapter 4 Distribution 30 chapter 5 Exhibition 36 chapter 6 DVD/Blu Ray/VOD 40 chapter 7 TV HEART STREET/HARTENSTRAAT 2 3 Key Figures Year 2013 in review The Netherlands 2013 The Netherlands boasts a vibrant film industry with an open attitude towards international Population (2014-June) 16,857,807 Exhibition co-production. In 2013, 22 Dutch feature Government/political organisation Constitutional Monarchy Number of cinemas (of which 113 film theaters) 261 length films were selected to one of the Average G.D.P. 2013 (billion €) 599 Number of screens 828 major international film festivals. For the first Regulatory body for media Ministry of Education, Culture and Science - digital screens 2K/4K 100% time in 38 years, a Dutch film succeeded to Number of seats 136,918 break through to the main competition of the Production and Financing Number of admissions per capita 1.8 world’s leading film festival with the selection National funding (available budgets) Average ticket price (€) 8.10 of Borgman by Dutch film maker Alex van Subsidies Arts department, Film Fund1 36,782,255 Average film rental percentage of GBO 40.05% Warmerdam for the Golden Palm competition Subsidies Arts department, excluding Netherlands Film Fund2 11,050,826 of the Cannes International Film Festival 2013. Subsidies Media department3 9,861,331 DVD/BLU RAY/VOD By the end of the year 2013, the Dutch Cabinet Total government subsidy to cinema activities 57,746,503 total value DVD/Blu Ray Sales € 168 m announced an additional 20 m euro per year total value VOD € 88 m will be available from 2014 onwards for a new Number of allocated project subsidies by Netherlands Film Fund 482 VOD providers in the Netherlands 14 incentive scheme to attract inward investment.
    [Show full text]
  • Humour and Irony in Dutch Post-War Fiction Film FRAMING FILM
    HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States PETER VERSTRATEN HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM AMSTERDAM UNIVERSITY PRESS This publication is made possible by grants from the Nederlands Filmfonds and the Netherlands Society of Cinematographers. Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Borgman © Drafthouse Films. Design: Brandon Schaefer. Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 943 0 e-isbn 978 90 4852 837 0 doi 10.5117/9789089649430 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) P.
    [Show full text]
  • Back for Good RTL Telekids Returns to Dutch TV Screens
    14 October 2010 week 41 Back for good RTL Telekids returns to Dutch TV screens Germany Netherlands RTL Group companies receive RTL Nederland launches four German TV awards VI Radio France Belgium M6 broadcasts French RTL-TVI keeps viewers hit thriller informed about politics week 41 the RTL Group intranet 14 October 2010 week 41 Cover: Uki, main character of the RTL Telekids series of the same name Back for good RTL Telekids returns to Dutch TV screens 2 Germany Netherlands RTL Group companies receive RTL Nederland launches four German TV awards VI Radio France Belgium M6 broadcasts French RTL-TVI keeps viewers hit thriller informed about politics week 41 the RTL Group intranet A big day for the little ones After more than ten years, one of the most popular television brands in the Netherlands returns to the screens: RTL Telekids. The new RTL Telekids logo Netherlands - 14 October 2010 As of 18 October, RTL Telekids, RTL Nederland’s brand for children programmes, returns to Dutch living rooms on RTL 8. “During its ten years on air – from 1989 to 1999 – RTL Telekids became a very popular children’s programme and it’s still much talked about,” explains Remko van Westerloo, Programme Director at RTL 8. “During the celebrations for our twentieth anniversary last year, RTL Telekids was voted the most popular format by the daily TV show- biz magazine RTL Boulevard. The children who used to watch RTL Telekids are today’s parents. That’s reason enough to bring back this strong brand that evokes fond memories for many parents.” Olaf Swinarski, Head of Licensing and Entertainment, adds: “Last year, we learned in a consumer survey that RTL Telekids is still perceived as the most successful children’s brand on Dutch television ever among current parents with young children.
    [Show full text]
  • Humour and Irony in Dutch Post-War Fiction Film Framing Film
    HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States PETER VERSTRATEN HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM AMSTERDAM UNIVERSITY PRESS This publication is made possible by grants from the Nederlands Filmfonds and the Netherlands Society of Cinematographers. Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Borgman © Drafthouse Films. Design: Brandon Schaefer. Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 943 0 e-isbn 978 90 4852 837 0 doi 10.5117/9789089649430 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) P.
    [Show full text]
  • Film Facts & Figures
    FILM FACTS & FIGURES OF THE NETHERLANDS MAY 2016 BANANA PANCAKES BANANA CONTENT Introduction - Year 2015 in review 5 Chapter 1 Production and Financing 7 Chapter 2 Releases 19 Chapter 3 International Performance and Festivals 25 Chapter 4 Distribution 32 Chapter 5 Exhibition 38 Chapter 6 DVD / Blu Ray / VOD 46 Chapter 7 Television 50 Key Figures of the Netherlands 56 15.8% MARKET SHARES IN THE 18.8% 22.3% NETHERLANDS 20.6% 20.9% THE THE THE 1.2% OTHERS THE NETHERLANDS ADMISSIONS FOR NETHERLANDS INTRODUCTION NETHERLANDS NETHERLANDS 3.2% OTHERS DOMESTIC PRODUCTIONS 1.5% OTHERS 1.7% OTHERS 5.9% OTHERS 9.4% 10.2% EUROPE 8.6% EUROPE Year 2015 in review 13.7% 19.9% EUROPE 18.8% market share for Dutch EUROPE EUROPE 2015 was a successful year for Dutch flm, and flm makers with flms in 2015 an industry bustling with activity. In 2015 the market share for domestic flms in the The total production activity grew to € 136.9 M an increase of Netherlands dropped slightly to 18.8%. US and over 42 % in two years. For the frst time in fve years the total European product increased to respectively 67.8% and revenues increased again, fueled by a strong box offce and VOD 10.2%. Elsewhere in Europe US or European product growth. also increased. Only the UK showed strong growth in domestic market share. In Denmark and Germany In 2015 the Netherlands Film Production Incentive granted 80 domestic market shares increased slightly. flm projects €17.3 million in cash rebates. The Netherlands is 62.4% 63.1% 68.3% 64.6% 67.8% increasingly being chosen as a co-production partner, a location Source: Press release European Audiovisual Observatory (preliminary results) USA USA USA USA USA 2011 2012 2013 2014 2015 for shoots and a place to post produce flms.
    [Show full text]
  • Off to New Heights
    30 June 2011 week 26 Off to new heights Record ratings; record earnings; digitisation and diversification developing fast – Bert Habets explains how RTL Nederland can keep its impressive pace Germany Germany RTL Television presents X Factor is back Commit Awards on Vox Luxembourg Luxembourg RTL Group companies Télévie supports receive several awards in June cancerology research the RTL Group intranet week 26 30 June 2011 week 26 Cover: Bert Habets, CEO of RTL Nederland. Off to new heights Record ratings; record earnings; digitisation and diversification 2 developing fast – Bert Habets explains how RTL Nederland can keep its impressive pace Germany Germany RTL Television presents X Factor is back Commit Awards on Vox Luxembourg Luxembourg RTL Group companies Télévie supports receive several awards in June cancerology research the RTL Group intranet week 26 Coffee dispenser moments Bert Habets explains how RTL Nederland has developed from a single TV channel into an all-round media and entertainment company and will not rest on its laurels. Bert Habets has been CEO of RTL Nederland since January 2008 The Netherlands - 30 June 2011 Can you tell us something about RTL In our digital business we have made some Nederland’s performance during the first few headway over the past year. With the acquisition months of 2011? of the real time weather information platform In terms of audience shares, our TV channels Buienradar and with strong organic growth enjoyed a great season. Sharpening our channel we are now among the top five players in the profiles and our consistent programming strategy DutchREVENUE digital market. RTL Nederland also have paid off.
    [Show full text]
  • UNIC Annual Report 2014–2015 1 Contents
    UNIC AnnuaL REPORT 2014–2015 1 CONTENTS 1 KEY FIGURES WELCOME 02 frOM PHIL CLAPP 1.1. CinEMA-GOinG in 2014 04 3 THE YEar 1.2. PErfORMancE OF INDIVIDuaL FILMS anD AT UNIC Welcome to this, UNIC’s latest annual report, 36 examining key European cinema industry and public LOcaL FILMS’ SHarE policy trends across our 36 member territories. 10 3.1. ADVOcacY 1.3. DiGITAL ROLL-OuT anD 38 Over the past 12 months, UNIC has continued to raise the profile of European cinema exhibition 3D ScrEENs’ SHarE 3.2. SERVicES TO MEMBERS with key policy-makers as well as our partners in 14 anD ParTNERS the international motion picture industry. 1.4. ScrEEN DENSITY 38 We have further developed our services for members 16 3.3. CinEEurOPE and partners and are delighted to announce the recent 38 agreement of a long-term partnership with colleagues at Prometheus Global Media around CineEurope – 3.4. UNIC ACTIVITIES UNIC’s annual convention. in 2014–2015 2 TakinG STOck 40 I look forward to seeing many of you this year in Barcelona. In the meantime, I hope you enjoy reading anD LOOkinG this report. FORWarD Phil Clapp, CEO of the UK Cinema Association, 18 is President of the International Union of Cinemas 4 MEMBERS 2.1. REVIEW OF 42 KEY MarkET TRENDS 21 2.2. LaTEST POLicY 5 ParTNERS DEVELOPMENTS 44 26 2.3. SuMMarY OF UNIC’S KEY POLICY POSITIONS 30 1 KEY FIGURES 1.15 BiLLION visitors welcomed to cinema theatres across UNIC territories in 2014 EurOPEan BOX OfficE VS.
    [Show full text]
  • Film Facts and Figures 2018
    FILM FACTS & FIGURES OF THE NETHERLANDS MAY 2018 ISSUE GHF 2013 2014 2015 2016 2017 LIFE QUARTER 25+25+26+29+32TOTAL REVENUES DUTCH MARKET (M) € CONTENT 26+33+31+25+27DUTCH FEATURES PRODUCED NL Key Trends 2013-2017 P 02 24+33+34+26+27TOTAL DUTCH FILM PRODUCTION ACTIVITY (M) € Introduction - Year 2017 in Review P 04 Chapter 1 Production and Financing P 07 35+36+37+40+43FEATURE LENGTH FILMS RELEASED Chapter 2 Releases P 18 Chapter 3 International Performance and Festivals P 22 Chapter 4 Distribution P 30 29+29+31+29+29DUTCH FILMS RELEASED (FEATURES & DOCS) Chapter 5 Exhibition P 36 Chapter 6 DVD / BluRay / VOD P 43 25+31+22+27+25INT. FILM FESTIVALS W. DUTCH FILM SELECTION Chapter 7 Television / MEDIA P 48 NL Key Figures 2017 P 56 31+31+33+34+36ADMISSIONS TOTAL (M) 32+32+31+21+22ADMISSIONS DUTCH FILMS (M) 31+25+28+29+30BOX OFFICE TOTAL (M) € NL KEY TRENDS 2013-2017 21+21+19+12+12LOCAL MARKET SHARE DUTCH FILMS (ADM) 2013 2014 2015 2016 2017 Total revenues Dutch market (M) € 507 500 532 579 628 Dutch features produced (min.& maj.) 52 65 62 49 54 Total Dutch film production activity (M) € 95.6 133.3 136.9 105.9 108.3 29+30+29+24+21MARKET SHARE EU FILMS (ADM) Feature length films released 353 362 371 407 432 Dutch films released 57 57 61 58 58 (features & documentaries) 34+32+34+38+38MARKET SHARE US FILMS (ADM) Int. film festivals w. Dutch film selection 494 620 432 540 491 Admissions total (M) 30.8 30.8 33 34.2 36 Admissions Dutch films (M) 6.2 6.4 6.2 4.2 4.3 Box office total (M) € 249.5 250.1 275.8 287.7 301.9 Local market share Dutch films
    [Show full text]