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Jan 1, 2020 · Abstract and Figures. Purpose: Data analytics techniques can help to predict movie success, as measured by box office sales or Oscar awards. Revenue prediction of a movie before its theatrical ...
Mar 16, 2023 · As we suspected, in the current revenue landscape there are big deals available for the larger films—likely golden elevator films—but for everyone operating below that level, there is so little revenue available (at least, revenue that makes it back to the filmmakers/investors) that, if your goal is to break even and/or make a profit, the revenue market suggests that making your film for ...
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- The proposed new independent film value chain model in detail:
- Title:
- Development:
- Financing and pre-sales:
- Production: Shoot and post:
- International sales and licensing:
- International Distribution / Exhibition and Exploitation
- Consumption / the consumer:
- Library Rights:
- Fragmentation and integration in the film value chain:
- Retaining talent in the value chain:
- The limitations of the film value chain model:
- Levels of investment and recoupment:
- Future changes to the film value chain:
- Conclusions and future research:
- About the author
- Credits
This new model is shown on the next page, and was developed by the author through teaching sessions at a number of UK universities at Masters and MBA level. It has incorporated feedback from media business consultants and executives, MBA students and film producers.
Film “value chain” has been selected as the title, whereas the term “value system” would be more accurate to Porter’s original usage, since separate companies and freelancers are involved. However, as we have seen, the choice of “value chain” reflects current usage amongst academics and consultants in the media sector.
Development is the process of creating or acquiring (through an option) the idea for a film, creating the screenplay (through many drafts), securing development funding for the writer, and initiating the production financing process. In this chart development has been shown as a separate segment to production. This is because development financin...
This is the stage where the film is financed, in the case of independent film often involving a huge range of collaborating businesses, advisors and investors. This is the most complex stage of the process, where the leadership and negotiation qualities of the producer are most vital in ensuring that multiple stakeholders have to be made to say “ye...
Quite simply this is the segment where the film is shot and edited. Post production includes the whole editing process, including the addition of computer generated special effects and music. The shoot is usually the point at which the director is most powerful; however this can reduce during the edit and post production process, since the financie...
This is the point at which the completed film is then licensed internationally to distributors in each country or group of countries (known as territories). Those distributors pay to receive the film and have the rights to exploit it over a specified period of time. Usually the distributors also agree to return a share of the profits of the distrib...
As described above this is the process where the intermediary of the distributor prepares for and delivers the segment of Exhibition and Exploitation in each territory, sometimes selling on portions of the rights. The “windows” (or time-sensitive opportunities of different types of exploitation) could be listed as follows, in order of value to the ...
This paper has chosen to include the consumer as the last segment, which is not always usual practise in value chain diagrams. This is because the consumer is fulfilling two key value-related functions. The first is purchasing the product and allowing financial value to return down the chain (customer consumption). The second, in a way no less impo...
This paper has also chosen to include library rights as a separate segment, coming back from the completed “first run” of exploitation of the relevant windows, to re-impact earlier in the value chain. The film can then be re-exploited in two ways. Firstly, for the duration of the distribution license, it can be re-exploited by the distributor (for ...
The model clearly demonstrates visually and textually a number of issues and weaknesses in the independent model that film industry insiders have long been aware of. These include the large number of collaborating individuals and organisations; the complexity of the multi-player independent financing process (making it prone to setbacks when even o...
As a result of the multi-player and freelance nature of the production business, producers often find it very difficult to retain key creative talent across many films. This is made worse by the financial power of the studios to lure key talent away to other film projects, especially in America. This increases fragmentation because teams have to be...
However any value chain model as applied to the film industry posesses several limitations. These include being unable to represent the importance of reputation and personal relationships; timescale; and, above all, the levels of investment and recoupment at different stages. We shall now look at each of these in turn.
The vast majority of investment is during production, which is notably the smallest segment in terms of timescale (see diagram above). However levels of investment in different segments vary so much from film to film that any visual representation of an average would be highly misleading. Above all, the film value chain as defined in this paper a...
There are a lot of potential changes to the market for feature films and the value chain, as a result of digital technology and convergence: firstly the expected growth of internet downloads and video-on-demand; secondly the reduction of production costs due to the digitisation of the whole film-making process (especially in ultra low budget film-m...
In the current time of dramatic technological and economic change it is hoped that the theoretical tool of the film value chain, as defined in this paper, may be used to provide a valuable insight into the past, present and potential future workings of the film industry. It may be able to inform business strategy and even the investment decisions o...
Peter Bloore is a Visiting Fellow in Creativity and Media at the Centre for Creative and Performing Arts, at the University of East Anglia (UEA); and an Associate Tutor on the MA in Creative Writing (Scriptwriting) and the MA in Creative Entrepreneurship. He is also Senior Lecturer at Bournemouth University Media School and Course Leader of the Med...
Thanks to Dr John Oliver of Bournemouth University Media School; Val Taylor and Jon Cook of University of East Anglia; students on the Media MBA at Bournemouth University; and especially Angus Finney of the Film Business Academy at Cass Business School.
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Mar 11, 2024 · Current statistics on this topic. Cinema & Film. Average production costs of A24 movies worldwide 2022. Cinema & Film. Highest grossing A24 movies at the global box office 2023. Cinema & Film ...
Apr 1, 2010 · industry expanding every year, but with the major collapse of financial markets, the money invested in film decreased dramatically over the past 2 years. Many specialty houses, both independent and studio owned, closed as the numbers did not add up, and many investors were burned by the significant losses incurred.
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mindful film viewing and the examination of non-filmic documentation. Insofar as non-statistical methods remain integral to the research project, then statistical techniques, in my understanding, can offer to film-historical study two distinct benefits. The first benefit is the increased precision that statistics bring to the study of film style.
Apr 16, 2024 · Includes historical industry-level data on film stocks, distribution, and exhibition. Includes industry-level data on top yearly primetime programs, top cable networks, and general introductory essays on the state of the industry. Includes data on the top five films from each year, for 1939-1995. Covers 1910s to 2005.
