How Exposure and Distribution Maintain Momentum – Deadline

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The CineEurope conference kicks off here in Barcelona on Monday with a cast and exhibit that should be in good spirits, emerging from a string of mega-pilots in the first part of the year and heading into a lucrative second half. There are reasons for patting on the back and clapping on each other’s backs, but there are also concerns that all parties must continue to work together for the good of the company.

The annual gathering of European theater owners and Hollywood studios is taking place in its usual slot for the first time since the start of the pandemic, and comes as the international box office (excluding China) is up around 166% versus 2021 as of June 11 at B$6.06, according to Gower Street Analytics. Also as of June 11, the worldwide box office (including China) was estimated at $11.7 billion, 62% higher than the same period last year and 37% lower than the 2017 average. -2019.

The first part of 2022 saw blowouts like Warner Bros/DC The BatmanDisney/Marvel’s Doctor Strange in the Multiverse of MadnessParamount/Skydance Top Gun: Maverick and Universal/Amblin Entertainment Jurassic World Dominion. Each of them exceeded $600 million worldwide, with maverick and JWD still in its infancy. Light yearto be fair, had a rocky start – let’s see how it goes.

Although there is a clear demand, the industry cannot live on blockbusters alone. This is one of the key issues on the minds of executives today, along with the relationship between exposure and distribution, and the increasing reach of premium format opportunities.

Exhibitors and casts agree that mid-sized movies, and even bigger movies that aren’t based on existing IP, need to exist within the ecosystem for it to thrive.

Granted, this has been seen before the pandemic, but we’re hearing there’s more concern about declining turnout for mid-level and original photos, as some pockets of the public are still reluctant to return. (think older women). It is not sustainable, we are often told. If those movies stop being shot, it becomes a downward cycle.

How to remedy this? Part of this is to maintain the warm exhibition and distribution relationship built during the pandemic. Once somewhat uncomfortable bedfellows, movie circuits and studios have found a new way to collaborate in recent years – sharing ideas and data and working together to maximize box office and get the market back on track. sound basics. Although there were experiments with windows that sometimes didn’t do well in exposure, it’s now generally accepted that movies need decent theatrical exposure. There is hope that the spirit of collaboration will continue.

Moreover, even the studios defend themselves when there is a hit. A rising tide lifts all boats, as the saying goes, and I constantly hear executives say they’re shocked every time a film excels in these uncertain times.

Increasing the frequency of passage of moviegoers is also a key element. This is partly due to content that has been a challenge throughout the shutdowns and startups that the industry has faced as a whole over the pandemic years. And a lot of that is driven by the theatrical experience that gives people who may have lost the habit of going to the movies the desire to come back again and again – through all the demos. There will be a discussion here about innovative marketing and advertising campaigns and how partners can work together.

And, there’s an opportunity for exhibitors, distributors, and technology companies to elevate the experience with the PLFs that have given recent hits a big boost, and help underscore the need to see a movie on the big screen. screen, maximizing the potential for cinemas and for films — and the frequency of visits.

The European majors are experiencing growth at all levels. Examples through June 11 include the UK which is up 920% from 2021 and just 27% down from the pre-pandemic three-year average. France reached $461 million (+1014% compared to 2021/-31% compared to the three-year pre-pandemic average) and Germany reached $309 million (+7736% compared to 2021/-37% compared to to the pre-pandemic three-year average).

On the negative side overall overseas and not limited to Europe, inflation weighed on marketing costs, while production costs increased by around 20%. For the moment, Russia, which represents 3 to 4% of the international box office (excluding China) in a normal year, is not part of the equation. There is nothing to do about this at this time. China, for its part, has been mercurial with release dates, but is showing some rebound with Jurassic World Dominion approaching $100 million so far. Still on the rise, Korea is back after a tough time, and that’s something to celebrate.

Overall, we expect there to be a sense of optimism here at Barcelona. The second half of summer and the rest of the year are shaping up to be strong as there is strong anticipation for 2023. As more than one executive told us enthusiastically, “This company is here to stay.

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