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Parallel
Events |
The
Ever-Evolving Documentary Marketplace:
Workshop |
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Πέμπτη 21 Ιουνίου 2007
17:00, Γραφείo Φεστιβάλ
Εισηγητής:
Jan Rofekamp
Πρόεδρος και Γενικός Διευθυντής της Films
Transit International Inc.
President and CEO
of Films Transit International Inc.
Head of Acquisitions
Theatrical and Home Entertainment sales
FILMS TRANSIT MONTREAL OFFICE
252 Gouin Boulevard East
Montreal, Quebec, Canada H3L 1A8
Tel: (514) 844 3358
Fax: (514) 844 7298
Email: janrofekamp@filmstransit.com
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Ένα 3ώρο εργαστήρι
με τη μορφή παρουσίασης που καλεί το κοινό να
συμμετέχει με τις ερωτήσεις του στο τέλος κάθε
ενότητας, πριν το διάλλειμα. Στο τέλος του
εργαστηρίου θα πραγματοποιηθεί ένα ωριαίο Q&A
ώστε να καλυφθούν τα θέματα που απασχολούν το
κοινό. Πιστεύουμε πως οι εμπειρίες του κοινού
καθώς και τα παραδείγματα που θα
χρησιμοποιήσουμε θα συμβάλλουν στην κατανόηση
κάποιων αφηρημένων εννοιών. Θα μιλήσουμε για την
παραγωγή, τις πωλήσεις και τις προπωλήσεις, την
αγορά του ντοκιμαντέρ, τη διανομή στις αίθουσες
και τη συμμετοχή σε φεστιβάλ, τη στρατηγική
συμμετοχής σε διεθνή φεστιβάλ και το μέλλον του
είδους. Το εργαστήρι θα πραγματοποιηθεί στα
αγγλικά.
Ο Γιαν Ρόφεκαμπ γεννήθηκε στη Ζυρίχη της
Ελβετίας και μεγάλωσε στην Ολλανδία, όπου
σπούδασε στην Ολλανδική Ακαδημία Κινηματογράφου.
Εργάστηκε στη διανομή ταινιών από το 1972 μέχρι
το 1982, όπου και μετακόμισε στον Καναδά,
ιδρύοντας εκεί την εταιρία Films Transit, έναν
από τους πιο επιφανείς διανομείς ποιοτικού
ντοκιμαντέρ στον κόσμο. Κάποιες από τις
πρόσφατες ταινίες στο πρόγραμμά τους είναι: �The
Corporation�, �Metallica: Some Kind of Monster�,
�Bukowski: Born into This�, �Imaginary Witness:
Hollywood and the Holocaust�, �The President
Versus David Hicks�, και �The Battle for Our
Minds�. Η Films Transit κέρδισε το 2004 το
βραβείο Joris Ivens στην idfa (Άμστερνταμ) για
την ταινία �Shape of the Moon�. Κατά τη διάρκεια
της καριέρας του έχει κάνει την παραγωγή και την
εκτέλεση παραγωγής σε δεκάδες ταινίες.
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Outline for a 3 hour workshop about the Ever-Evolving
Documentary Marketplace |
We have a style of presentation that will invite
the audience to participate at the end of each
session prior to breaks with a short Q&A, and at
the end an hour Q&A, so that all the
participants need and want to know should get
addressed. We think that including some
experiences from the audience as well as
examples we will use will help bring sometimes
rather abstract material to life for our
audience.
Subjects:
Production:
Local (home market) subjects vs those with more
universal appeal
Some films will work domestically, some
internationally.
Those made for domestic and will NOT work
internationally
Take the maximum advantage of your access: make
different versions for different markets
Research what other films have been done in the
last 10 years on the same or similar subject
Releases � include all media now known and to be
invented and adaptation rights if possible or
option for them for period of time
Clearances - of music, archive, stills, film
clips, ads, cards, and other copyrighted
material that is not owned by the filmmaker �
for doc and ancillary rights such as soundtrack
if appropriate
The most effective lengths � hour, feature,
festival lengths (versions)
No two slot lengths are the same anymore, so we
now call it generally the TV hour.
Tech notes - including on screen texts, 16-9,
4-3, HD - the far-reaching consequences for the
marketplace and the producers
The future of broadcasting: HD and non-HD
material
Sales and Pre-sales
The difference between Pre-sales and
Co-productions
The Basic Rules of Co-production
Acquisitions
Revenues
What rights can you license / sell and who buys
them?
New developments: VOD, PPV, ipod, Moby, and the
Internet. What belongs with which media? The
broadcasters?
Contracts �and is it necessary to work w a
lawyer and / or sales agent (more on this at end
of afternoon)
The market
Introduction: The life of docs: festivals,
theatrical, non-theatrical, home video,
broadcast, internet and new media.
Where docs primarily get sold / where the
majority of money is usually made for filmmakers
Broadcast still remains the primary revenue
generator
What primarily gets sold and to whom
Where to sell your projects and completed films:
Broadcast only markets (Miptv etc)
Film Festivals with market facilities, video
libraries
Emailing CE�s / Personal visits
Pitch forums: The Idfa Forum, TDF, IFP Market,
Euro Doc, Sheffield, etc
All media deals
Worldwide deals � advantages and disadvantages
Windows - when to release what media
Theatrical & Festivals
Introduction:
It seems today everyone wants to make a
theatrical doc. What are the issues?
The fact that still 95% of all docs seen by
viewers are seen on television
Basic rules: what makes a doc THEATRICAL?
International Film Festival Strategy, including:
When to send your film out: rough or fine cut or
finished films
Danger of sending films out too early
Major launch pad festivals: identify and
describe
Optimal festival policy for World Premiere,
International Premieres, European Premiere,
North American Premiere, US Premiere, National
festivals
Lengths of films festivals typically go for and
why
What is the order of events in an ideal
marketplace: an example of a launch calendar
The Future:
The old models
The NEW MEDIA and the new models
(Self-distribution possibilities)
New media: The Internet: The good & the bad
points
Future: Position of the independent filmmaker in
all of this.
END ON THE SIX BASIC RULES (JR STORY)
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