"Global Distribution" Guidelines: Who can decide whether your project can be distributed to North America

for many filmmakers and studios in the world, the greatest wish is to make a film that can be distributed globally, to occupy every market, and to maximize the box office-- how to make their projects have the possibility of global distribution?

for many filmmakers and studios in the world, the greatest wish is to make a film that can be distributed globally, to occupy every market, and to maximize the box office-- how on earth do you want to make your project possible for global distribution?

the so-called "global distribution" simply means that the film can be distributed in theaters in Asia, Europe, North America and Latin America, so in principle, it is to find some distributors to do distribution in different places, or to find companies with global distribution networks to help push them to overseas markets. During the film market, you can negotiate and sign agreements with distributors and copyright sales companies in different overseas regions to help you sell the distribution rights in different regions of the film through the relationships they have established. Because of the large number of countries in Asia and Europe and the "separation" of the market, generally speaking, no matter what kind of films they are, they can sell for some money.

however, the only problem with < strong > is that 99% of the time no one in the North American market buys < / strong >-- what if no one in North America posts the booming Chinese movies? Life is not complete! Will be looked down upon by Lao Wang next door.

so how can the film be distributed on a large scale in North America? Let's start with a digression. When Americans talk about their home market (domestic market), they automatically include the Canadian market, so North American distributions are basically issued by US cinema distributors. Well, let's take a look at what are the distributors of cinema chains in the United States? Six, plus mini-major studios, such as Lionsgate, The Weinstein Co., relativity (Relativity, now bankrupt), Open Road Films, CBS Films, etc.

first of all, let's talk about the big six. What kind of films are released by these six? < strong > self-developed films, and very few films that buy out copyright distribution (negative pick-up) < / strong >. How do you turn your project into six major R & D projects and eventually enter their distribution system? Since ancient times, Huashan has a way-you can only find those producers who have a first-time First-Look Deal with the Big six and ask them to help you develop it. Where are these producers? Please see "with this table, you will find real Hollywood gold producers." moreover, these producers regard their taste as more important than their lives, and it is difficult for ordinary projects to catch their eyes. < strong > even if they like it, they will eventually have to compete within each studio with the projects of other producers who have a first-look agreement, and do presentation in front of the Green Light Committee (Greenlight Committee), so that they can get the production funding and distribution support of the studio in the end. < / strong >

then, if you are lucky, what kind of films can be very few bought out? For example, Ang Lee's Crouching Tiger, Hidden Dragon was bought out by Sony. Comrades who have been to the film market will understand that every year thousands of new films are put on the shelves to sell regional copyright, and strong is rarely seen by the studios, and they have long been selected as harem beauties through special channels, and they will not stand on the market at all. So, if a sales company tells you that he can help you sell North America, you can turn around and go to the next meeting. < / strong >

the studio is so difficult to serve, so let's play with the small studio.

small studios are having a hard time, too. Relativity declared bankruptcy earlier; Weinstein is said to have run out of money in financial difficulties, and the release dates of his own films have been pushed back again and again. Domestic compatriots of Open Road and CBS may not be familiar with it. Open Road is a publishing company jointly owned by Regal and AMC. It seems to be a direct family of cinema, so it should be close to the water. In fact, it is similar to CBS because of the high cost of distribution. The two distribution companies release a limited number of films each year, with a single type, generally dominated by low-cost feature films, and the distribution scale is not too large. Each year, the total box office of the films released each year can only account for about 1% of the total box office. Of course, there are some more targeted small distributors in the United States, if you do not pursue the distribution scale, these distributors target specific moviegoers with low cost and good results, such as Huashi, the first release of Chinese-language films.

< strong > if none of these can meet your ambition, be sure to create a work that can compete with Marvel and DC animation and be distributed simultaneously around the world. Let's go back to the topic just now, catch the producers who have a first-look agreement with the studio, < / strong > pass their development project, and then go to the Green Light Committee for approval. This is basically the only way. For those producers, directors, and actors who do not have a first-look agreement, after they are optimistic about a project, they all need to find a producer who has a first-time agreement to do it before they have a chance to program the project into the studio system.

< strong > what is the green light committee of that factory? How do they approve the project? What is the whole operation process? In this connection, I interviewed Adrian Askarieh, the producer of the Fox series Killer. < / strong > Please click on today's two "exclusive interview" < Killer: code 47 > producer: how to pass the Review of the Green Light Committee of the Studio