Consolidated Revenue and Profit – H1 FY2014/2015
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Annual Results FY 2019/2020
Annual results FY 2019/2020 Operating margin rate at 31%, increasing significantly compared with previous fiscal years Continued decrease in overheads : new drop of €14 M compared with 2018/2019 overheads, which were already €7 M lower than the previous fiscal year Net result of €(95) M, mainly due to non-recurring items linked to the restructuring : exceptional result of €(64) M including €(60) M with no cash impact Finalization of the financial restructuring with the completion after closing of the share capital increases reserved for the Vine and Falcon funds for €193 M Saint-Denis, 29 July 2020 – EuropaCorp, one of the leading independent film studios in Europe, film producer and distributor, reports its annual consolidated income, which ended on 31 March 2020, as approved by the Board of Directors at its meeting on 28 July 2020. Presentation IFRS 5* Profit & Loss – € million 31 March 2019 31 March 2020 Var. 31 March 2019 31 March 2020 Var. Revenue 150,0 69,8 -80,2 148,7 69,8 -78,9 Cost of sales -121,6 -48,3 73,3 -121,4 -48,3 73,1 Operating margin 28,4 21,4 -6,9 27,3 21,4 -5,8 % of revenue 19% 31% 18% 31% Operating income -79,0 -59,1 19,9 -71,2 -59,1 12,1 % of revenue -53% -85% -48% -85% 0 Net Income -109,9 -95,1 14,8 -109,9 -95,1 14,8 % of revenue -73% -136% -74% -136% * To be compliant with IFRS 5, the activity related to the exploitation of the catalog Roissy Films, sold in March 2019, has been restated within the consolidated FY 2018/19 for a better comparison. -
Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights. -
Brick-Mansions-Dossier-De-Presse
2 EUROPACORP PRESENTE Durée : 1h38 DISTRIBUTION PRESSE EuropaCorp Distribution Etienne Lerbret / Anaïs Lelong La Cité du Cinéma - 20, rue Ampère 36, rue de Ponthieu - 75008 Paris 93413 Saint-Denis Cedex Tél. : 01 53 75 17 07 Tél. : 01 55 99 50 00 [email protected] www.europacorp.com [email protected] 3 ’ai eu l’honneur et le plaisir de travailler avec Paul JWalker pendant plusieurs semaines sur mon film Brick Mansions, et cette aventure ensemble restera pour moi inoubliable . Paul était un homme avec un grand cœur et vraiment très sympathique. Un homme dont le charme et le charisme se faisaient sentir dés qu’il arrivait sur le plateau et dont le visage resplendissait à chaque fois sur l’écran. Son talent d’acteur était tellement intense, sensible, drôle et puissant, que cela a été magique de travailler avec lui. Je suis très fier et heureux d’avoir pu le connaître. Camille Delamarre 4 ar ce court texte, je souhaite rendre un dernier hommage Pà Paul Walker, qui nous a brusquement quitté le 30 novembre dernier dans des conditions tragiques alors qu’il œuvrait pour venir en aide aux victimes du typhon Haiyan qui venait de frapper les Philippines. La nouvelle de sa disparition a évidemment été un grand choc pour moi, et je compatis sincèrement à la peine de ses proches. J’ai rencontré Paul l’été dernier sur le tournage de Brick Mansions. Nous nous sommes très vite entendus, malgré la barrière de la langue, et le film doit beaucoup à cette complicité spontanée qui s’est immédiatement établie entre nous. -
Guide Technique César 2016
Les Guides de l’Académie & 2016 césar Les chefs de postes Costumes, Décors, Montage, Photo, Son et les sociétés de prestations techniques des films de la production française sortis en 2015 Académie des Arts et Techniques du Cinéma 11 rue de l’Avre - 75015 Paris www.academie-cinema.org Couvertures Technique 2016.indd 1 18/12/2015 12:56 Ce guide recense les chefs de postes Costumes, Décors, Montage, Photo, et Son ayant collaboré soit aux films éligibles au César 2016 du Meilleur Film, soit aux films de coproduction française et d’expression originale française éligibles au César 2016 du Meilleur Film étranger. à ce titre, ces chefs de postes concourent pour le César 2016 des Meilleurs Costumes, des Meilleurs Décors, du Meilleur Montage, de la Meilleure Photo, et du Meilleur Son. Sont également recensées dans ce guide, les sociétés de prestations techniques ayant collaboré à au moins un de ces films. Toutes les informations contenues dans ce guide sont compilées à partir des documents édités par les dispositifs grand public de référencement cinéma, les sociétés de production, et le CNC. AssociationAssociation pour pour la la Promotion Promotion du du Cinéma Cinéma Elles n’ont comme seul objet que de faciliter le vote des membres de 1111 rue rue de de l’Avre l’Avre - -75015 75015 Paris Paris PrésidentPrésident : Alain: Alain Terzian Terzian l’Académie. DirecteurDirecteur de de la la publication publication : Alain: Alain Rocca Rocca ConceptionConception : Maria: Maria Torme Torme et et Jérôme Jérôme Grou-Radenez Grou-Radenez L’APC fait ses meilleurs efforts pour en vérifier l’exactitude, mais ne pourra RéalisationRéalisation et et impression impression : Global: Global Rouge Rouge / /Les Les Deux-Ponts Deux-Ponts en aucun cas être tenue responsable des éventuelles informations inexactes GuideGuide imprimé imprimé sur sur papier papier labellisé labellisé issu issu de de forêts forêts gérées gérées durablement durablement contenues dans ce guide. -
FY2013/2014 Consolidated Results: the Group Maintains a High Level of Operating Margin (€57.7 Millions)
FY2013/2014 consolidated results: the Group maintains a high level of operating margin (€57.7 millions) The operating margin remains high (€57.7 million, an operating margin ratio of 27.3% at 31 March 2014) International sales increased and performance of the TV series segment continued to improve The Group has continued its external growth operations, in particular through the launch of the Multiplex business line and the founding of a distribution joint venture in the USA, which lead to a reduced operating income for the financial year The statutory auditors have stated that they will issue a qualified opinion due to a divergence between their technical analysis and that of the Company over the recognition timing for the $45 million of revenue related to a buy-out agreement with Fox. The net income is impacted by a non-recurring expense (primarily non-cash) of €10.1 million, which is due to the partial cancellation of the free share plan Saint-Denis, 26 June 2014 – EuropaCorp, the producer and distributor of feature films and one of the leading independent film studios in Europe, today announces its consolidated annual results at 31 March 2014, which the Board of Directors approved on 25 June 2014, for FY2013/2014. Consolidated results adjusted for the impact of Consolidated results the cancelled part of the free share plan ** Consolidated financial FY FY Change FY statements (€m) 2013/14* 2012/13 2013/2014 2013/14 Revenue 211.8 185.8 26.0 211,8 Cost of sales -154.1 -129.7 -24.4 -154.1 Operating margin 57.7 56.1 1.6 57.7 % of revenue -
Europacorp Announces Financial Results 2015/2016
EUROPACORP ANNOUNCES FINANCIAL RESULTS 2015/2016 A transitional year marked by: Net loss of €27.7 million primarily due to: o Reduced revenue with only 5 films in distribution, and only one film globally distributed; o Non-recurring expenses of €20.4 million Operating margin level maintained at a high level of 25.3% Significant volume of English language films in post-production and ready for worldwide distribution in coming months Saint-Denis, July 1st, 2016 – EuropaCorp, one of the leading independent film studios in Europe, film producer and distributor, today reports its annual consolidated income for FY2015/2016, which ended on March 31st, 2016, as approved by the Board of Directors at its meeting on June 28th, 2016. Consolidated annual income € million FY2015/2016 FY2014/2015 Δ 12 months Revenue 147.3 226.9 (79.6) Cost of Sales (110.0) (155.4) 45.4 Operating margin (before overhead) 37.3 71.5 (34.2) % of revenue 25.3% 31.5% (6.2) pts Operating profit (22.3) 19.5 (41.8) % of revenue -15.1% 8.6% (23.7) pts Net income (Group share) (27.7) 16.2 (43.9) Equity 155.2 184.7 (29.5) 1 WorldReginfo - 9b699450-ffb0-434b-998d-fcefa9a30a5f Consolidated annual revenues1 are down 35% from prior fiscal year when Taken 3 and Lucy generated significant revenues Revenue from International sales was €55.5 million or 37.7% of total revenue. Revenue from Theatrical distribution in France and the U.S. was €9.8 million or 6.6% of total revenue. Revenue from Home Entertainment in France and the U.S. -
Trevor Morris
TREVOR MORRIS COMPOSER Trevor Morris is one of the most prolific and versatile composers in Hollywood. He has scored music for numerous feature films and won two EMMY awards for outstanding composition for his work in Television. Internationally renowned for his music on The Tudors, The Borgias, Vikings and the hit NBC television series Taken, Trevor is a stylistically and musically inventive soundtrack creator. Trevor’s unique musical voice can be heard on his recent film scores which include The Delicacy, Hunter Killer, Asura, Olympus Has Fallen, London Has Fallen, and Immortals. And further Television compositions including Another Life, Condor, Castlevania, The Pillars oF the Earth for Tony and Ridley Scott, Emerald City and Iron Fist for Marvel Television. Trevor has also worked as a co-producer/ conductor/ orchestrator on films including Black Hawk Down, The Last Samurai, The Ring Two, Pirates of the Caribbean, and Batman Begins and collaborated with Tony and Ridley Scott, Neil Jordan, Luc Besson, Jerry Bruckheimer, Antoine Fuqua, Tarsem Singh Dandwar, as well as composers James Newton Howard and Hans Zimmer. Trevor is also a Concert Conductor, conducting his music in live concert performances around the globe, including Film Music Festivals in Cordoba Spain, Tenerife Spain, Los Angeles, and Krakow Poland where he conducted a 100-piece orchestra and choir for over 12,000 fans. Trevor has been nominated 5 times for the prestigious EMMY awards, and won twice. As well as being nominated at the World Soundtrack Awards in Ghent for the ‘Discovery of the Year ‘composer award for the film Immortals. Trevor is a British/Canadian dual citizen, based in Los Angeles. -
The Phenomenological Aesthetics of the French Action Film
Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema. -
IMMORTEL by Franz‐Olivier GIESBERT (75%) Published by Editions FLAMMARION ©2007 (37.5%)
Europacorp presents JEAN RENO KAD MERAD MARINA FOÏS JEAN‐PIERRE DARROUSSIN 22 BULLETS A FILM BY RICHARD BERRY Based on the novel L’IMMORTEL by Franz‐Olivier GIESBERT (75%) Published by Editions FLAMMARION ©2007 (37.5%) FRENCH NATIONAL RELEASE MARCH 24, 2010 Runtime: 115' DISTRIBUTION: PRESS: Europacorp Distribution AS COMMUNICATION 137, rue du Faubourg St‐Honoré Alexandra Schamis/Sandra 75008 Paris Naomi Kato Tel: +33 (0)1 53 83 03 03 11 bis rue Magellan – 75008 Paris Fax: +33 (0)1 53 83 02 04 Tel: +33 (0)1 47 23 00 02 www.europacorp.com [email protected] SYNOPSIS Charly Matteï has turned his back on his life as an outlaw. For the last three years, he's led a peaceful life devoting himself to his wife and two children. Then, one winter morning, he's left for dead in the parking garage in Marseille's Old Port, with 22 bullets in his body. Against all the odds, he doesn't die... This film is a work of fiction inspired by real‐life events in the world of the Marseille mafia. INTERVIEW WITH RICHARD BERRY What made you want to adapt Franz‐Olivier Giesbert's book? In the same way that comedy is an incredible vehicle for certain ideas, thrillers can also give you pause to reflect on certain issues. In the story of a guy, who was allegedly a mafia godfather in Marseille, who was left for dead in 1977 in a parking lot in Cassis, but who survived the shooting earning himself the nickname "The Immortal", I saw an incredibly strong subject and an amazing adventure. -
Thomas Vinterberg Film
LUC BESSON PRESENTS MATTHIAS LÉA COLIN SCHOENAERTS SEYDOUX FIRTH A THOMAS VINTERBERG FILM COMING SOON SYNOPSIS Kursk is inspired by the unforgettable true story of the K-141 Kursk, a Russian flagship nuclear-powered submarine that sank to the bottom of the Barents Sea in August 2000. As 23 sailors fought for survival aboard the disabled sub, their families desperately battled bureaucratic obstacles and impossible odds to find answers and save them. 2 THE KURSK TRAGEDY On August 10, 2000, Kursk — a submarine twice the size of a jumbo jet and longer than two football fields, the “unsinkable” pride of the Russian Navy’s Northern Fleet — embarked upon a naval exercise. It was their first exercise in a decade and the maneuvers entailed 30 ships and three submarines. Two days later, two internal explosions, powerful enough to register on seismographs as far away as Alaska, sent the ship to the bottom of the Arctic waters of the Barents Sea. At least 23 of the 118 sailors aboard survived the explosions. Over the next nine days, the entire world was on tenterhooks, as rescue operations faltered and foreign assistance was refused. The fate of the men aboard hung in the balance. Journalist Robert Moore’s book A Time to Die: The Untold Story of the Kursk Tragedy scrupulously dissects all the forensic evidence and every agonizing moment on the final hours in the lives of those doomed sailors. 3 PRODUCTION NOTES FROM BOOK TO SCREEN recalls. “But one thing that stayed with me, from the what happened. They all died. So we surrounded news coverage, was the tapping. -
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Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Simón Calle All rights reserved ABSTRACT Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called “nueva música Colombiana” (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10.