Article by David Lands
2010, while being a relatively dismal for original narrative films, had several rather important issues and newsworthy events appear. The possibility of motion picture futures were a possibility, where one could bet for or against the overall monetary performance of a film. The MPAA also has begun to provide ratings descriptors specifically for male nudity whereas female nudity is only described as ‘nudity’. Last, the future of 3D is also appears to be relatively flat.
Two specific exchanges were fighting to acquire the legal rights to run film futures trading exchanges. Cantor Exchange wanted to allow traders to buy or sell contracts that predict a film’s performance during the first 24 days of release for as little as $ 50. In this type of contract, each dollar of a given contract is the equivalent of $ 1 million in box office revenue, and contracts are determined by an initial first-day auction. Trend Exchange planned on allowing the sale of contracts based on a film’s performance during only the opening weekend and requires a minimum of $ 5,000. The Commodities Futures Trading Commission approved the two changes, however the overall financial reform bills in the House and Senate put the possibilities of these exchanges from actuality coming to fruition to a dead stop.
With parents chiming in on their issues with 2009’s Bruno, the MPAA has begun to provide the ‘male nudity’ ratings descriptor. While the majority of Americans more than likely would not be interested in such nudity, the fact that MPAA specifically describes ‘male nudity’ in their ratings and does not describe ‘female nudity’ and just describes it as ‘nudity’. Is this not two-faced?
With Avatar’s ability to capture audiences with intense 3D visuals, every film since has made less and less money with 3D presentation. The only exception would be Jackass 3D which, of all films using the medium, makes the most use of the 3d possibilities. Many of the films released in 2010 that featured 3D used post-production techniques to fake the three-dimensional presentation. In 2011, will those films that actually use real techniques to present the third dimension accurately pick up the pace? Will consumers buy into the 3D in their own homes?
2010 was rather a dismal year for American cinema. With some of the same sequel, reboot, and adaptation momentum from 2009, original narrative films rarely made appearances at the box office. However it was roughly the same fifteen or so films that appear to be continually listed on most film critics‘ end-of-year top ten lists. Films such as Black Swan, The Social Network, Inception and 127 Hours appear to have captured critics’ praise around the nation. 2011 has some interesting films on the docket, but will comic book adaptations and sequels take over the box office again? How will 3D films do in 2011? Only time will tell.
About the Author
David Lands enjoys the ever-changing world of film journalism and film criticism.
Use and distribution of this article is subject to our Publisher Guidelines
whereby the original author’s information and copyright must be included.
David Lands enjoys the ever-changing world of film journalism and film criticism.
Use and distribution of this article is subject to our Publisher Guidelines
whereby the original author’s information and copyright must be included.
Drunken Tai Chi is a 1984 Hong Kong martial arts action film directed by Yuen Woo Ping and starring Donnie Yen in his first major role. Donnie Yen had signed a four-film contract after winning an open talent search hosted by Yuen Woo Ping, and “Drunken Tai Chi” was one of the contracted films. “Drunken Tai Chi” was the last film in its distinctive genre of kung fu comedy. The title “Drunken Tai Chi” is misleading. The original title can also be translated as “Laughing Tai Chi.” Both “Drunken” and “Laughing” refer to the character of the wine-loving, comedic Tai Chi master played by Yuen Cheung-Yan, and not to the Tai Chi style itself. Plot Cheng Do (Donnie Yen) is the well-educated younger son of an unpleasant, miserly salt baron who pours attention on Cheng, grooming him to be a scholar, and ignores his hardworking elder son (Yuen Yat Chor). The brothers have a loving relationship with each other, despite some strain from their father’s unequal treatment of them. Both brothers are skilled in external martial arts, though their father disapproves of Cheng practicing kung fu when he should be studying. One day, a local bully with a nobleman father harasses the townsfolk, and Cheng fights, defeats, and humiliates him. That night, the bully and his partners in crime ambush Cheng and his brother, attempting to burn them with fireworks. The brothers turn the tables on the bully, but Cheng accidentally goes too far, inflicting permanent brain damage on the bully that renders …
Video Rating: 5 / 5
Het platform 360° biedt vele mogelijkheden op het gebied van procesmangement. Contractmanagement is een mooi voorbeeld van de gekoppelde entiteiten binnen het 360° platform. Meer informatie is te vinden op www.wortell.nl
Video Rating: 5 / 5
Question by chronicalz21: What kind of waivers/contracts would I need to make to hire extras for my film?
Best answer:
Answer by justme
i wanna be an extra in ur film 😉
Give your answer to this question below!
Movie review: 'Expendables 2'
Trailer: 'The Expendables 2': Mr. Church (Bruce Willis) once again contracts Barney Ross (Sylvester Stallone) and his team of elite mercenaries for a seemingly simple job, but the murder of one of their own puts them on a quest for revenge.
Read more on Florida Today
[wpramazon asin=”1879505991″]
Drunken Tai Chi is a 1984 Hong Kong martial arts action film directed by Yuen Woo Ping and starring Donnie Yen in his first major role. Donnie Yen had signed a four-film contract after winning an open talent search hosted by Yuen Woo Ping, and “Drunken Tai Chi” was one of the contracted films. “Drunken Tai Chi” was the last film in its distinctive genre of kung fu comedy. The title “Drunken Tai Chi” is misleading. The original title can also be translated as “Laughing Tai Chi.” Both “Drunken” and “Laughing” refer to the character of the wine-loving, comedic Tai Chi master played by Yuen Cheung-Yan, and not to the Tai Chi style itself. Plot Cheng Do (Donnie Yen) is the well-educated younger son of an unpleasant, miserly salt baron who pours attention on Cheng, grooming him to be a scholar, and ignores his hardworking elder son (Yuen Yat Chor). The brothers have a loving relationship with each other, despite some strain from their father’s unequal treatment of them. Both brothers are skilled in external martial arts, though their father disapproves of Cheng practicing kung fu when he should be studying. One day, a local bully with a nobleman father harasses the townsfolk, and Cheng fights, defeats, and humiliates him. That night, the bully and his partners in crime ambush Cheng and his brother, attempting to burn them with fireworks. The brothers turn the tables on the bully, but Cheng accidentally goes too far, inflicting permanent brain damage on the bully that renders …
Video Rating: 0 / 5
Check out these film contracts products:
Ender's Game film producers seek assurances in Digital Domain bankruptcy
Oddlot (OLE) filed motions in the Delaware bankruptcy asking U.S. Bankruptcy Judge Brendan Shannon to require that all of its contracts for Ender's Game be considered as one package and not sold off piecemeal to a buyer in a bankruptcy auction. Digital …
Read more on South Florida Business Journal
Melbourne, Australia (PRWEB) September 05, 2012
The Film and Video Production industry in Australia is a high-risk venture for investors, with about only one in every 15 films produced breaking even financially. Recently, new Federal Government film incentives, including for TV productions, have been boosting industry growth. According to IBISWorld industry analyst Alen Allday, the film production revival relies on the availability of risk capital and investment funds, which had dried up during the global financial crisis. Demand from film distributors, cinemas, network TV and pay-TV stations for film products is vital to industry performance. Similarly, demand from advertising agencies for commercial production is essential. Despite estimated industry revenue declines in three of the past five years, a renewed emphasis on major Australian feature films and drama production by free-to-air and pay-TV stations is evident.
New incentives are expected to drive revenue growth for the Film and Video Production industry in Australia during 2012-13 and beyond. Many larger firms in the industry have also recently undergone significant ownership changes, Allday adds. In 2012-13, the industry is expected to generate revenue of $ 2.43 billion, up 1.2% for the year. Revenue is estimated to contract at an annualised 0.4% over the five years through 2012-13. Film production activity is being assisted by the greater availability of risk film capital and the Federal Government film rebate scheme for film and TV productions. Industry revenue is forecast to increase over the next five years.
The top four operators in the industry are Village Roadshow, Endemol Southern Star, FremantleMedia and Beyond International. Despite these large companies, the industry is highly fragmented with a very large number of small, single-film producers. Overall, there are a very small number of major feature film producers in Australia and a large number of freelance and small operators. This has been the case within the industry for many years and IBISWorld expects this to continue through 2017-18.
For more information, visit IBISWorlds Film and Video Production report in Australia industry page.
Follow IBISWorld on Twitter: http://twitter.com/#!/ibisworldau
IBISWorld industry Report Key Topics
Companies in this industry produce motion pictures and TV shows on film or video (including DVD and Blu-ray) for cinema release or TV broadcasting. This industry also includes services like casting and post-production activities, such as film editing, animation, special effects, titling and sub-titling. This industry excludes film and video productions undertaken by in-house production facilities owned by TV stations.
Industry Performance
Executive Summary
Key External Drivers
Current Performance
Industry Outlook
Industry Life Cycle
Products & Markets
Supply Chain
Products & Services
Major Markets
International Trade
Business Locations
Competitive Landscape
Market Share Concentration
Key Success Factors
Cost Structure Benchmarks
Basis of Competition
Barriers to Entry
Industry Globalisation
Major Companies
Operating Conditions
Capital Intensity
Technology & Systems
Revenue Volatility
Regulation & Policy
Industry Assistance
Key Statistics
Industry Data
Annual Change
Key Ratios
About IBISWorld Inc.
Recognised as the nations most trusted independent source of industry and market research, IBISWorld offers a comprehensive database of unique information and analysis on every Australian industry. With an extensive online portfolio, valued for its depth and scope, the company equips clients with the insight necessary to make better business decisions. Headquartered in Melbourne, IBISWorld serves a range of business, professional service and government organisations through more than 10 locations worldwide. For more information, visit http://www.ibisworld.com.au or call (03) 9655 3886.
Related Film Contracts Articles
Leave a Reply