With Hollywood’s writers returning to work will independent films remain unsold on the festival circuit?
Last week’s news that the writers’ strike had finished brought sighs of relief across Hollywood. Delayed TV shows and films can now re-commence, the Oscars are well and truly back on track, but most importantly the industry can now start re-cooperate the $1.3bn (£663million) lost during the 100 day strike. But with many commentators believing the strike would be beneficial for independent movies, what will this deal mean for independent filmmaker?
Ahead of the recently finished Berlin Film Festival, many US independent filmmakers and distributors were reported as being optimistic in the climate of the writers’ strike. Marketing types were discussing how distribution companies needed to fill a gap left in the market.
“It seems to me that the market for independent films has been getting progressively worse for many years now,” said Cinemavault’s executive Steve Arroyave before Berlin’s festival, going on to say, “I think with the lack of product due to the writers’ strike, there will be a stronger demand for completed independent films.”
The basis for this optimism wasn’t quite so clear. This year’s Sundance, which many believed would turn into a buying frenzy, saw only $25m splashed out on 17 films – a significant reduction from the $53m spent the previous year.
In the end the Berlin Film Festival was a disappointment but not because of the writers agreeing a deal. Perhaps, as suggested, there simply wasn’t enough decent movies, or safe movies with significant ‘tent-pole’ names attached, be it actors, directors or producers.
Mid-way through the festival many attendees were bemoaning the lack of quality productions and premieres on offer. To make matters worse, the most talked about production was There Will be Blood, which was already Oscar nominated and released in the US. All this considered, there was not a sufficient festival buzz conducive to brokering huge cash deals.
Arthouse Films head of acquisitions and production David Koh told Variety “The strike has not affected international, as far as we can see. The world has become slightly more real and diversified in its tastes.” Possibly explaining the strength of documentaries, (eight were purchased at Sundance), and foreign language films.
Indeed, it is the international market that appears to have taken most advantage of the lack of mainstream US product being made.
So, for independent productions, it is business as usual; the writers’ strike has not affected the industry in any positive way from the evidence.
Time will tell what affect the potential actors’ strike will have on the industry come July, but if independent filmmakers want to capitalise then they may wish to diversify and address the quality of their product.
Colin Scott – Hoping that the writers strike agreement will include the demand for better episodes of Lost.
Last week’s news that the writers’ strike had finished brought sighs of relief across Hollywood. Delayed TV shows and films can now re-commence, the Oscars are well and truly back on track, but most importantly the industry can now start re-cooperate the $1.3bn (£663million) lost during the 100 day strike. But with many commentators believing the strike would be beneficial for independent movies, what will this deal mean for independent filmmaker?
Ahead of the recently finished Berlin Film Festival, many US independent filmmakers and distributors were reported as being optimistic in the climate of the writers’ strike. Marketing types were discussing how distribution companies needed to fill a gap left in the market.
“It seems to me that the market for independent films has been getting progressively worse for many years now,” said Cinemavault’s executive Steve Arroyave before Berlin’s festival, going on to say, “I think with the lack of product due to the writers’ strike, there will be a stronger demand for completed independent films.”
The basis for this optimism wasn’t quite so clear. This year’s Sundance, which many believed would turn into a buying frenzy, saw only $25m splashed out on 17 films – a significant reduction from the $53m spent the previous year.
In the end the Berlin Film Festival was a disappointment but not because of the writers agreeing a deal. Perhaps, as suggested, there simply wasn’t enough decent movies, or safe movies with significant ‘tent-pole’ names attached, be it actors, directors or producers.
Mid-way through the festival many attendees were bemoaning the lack of quality productions and premieres on offer. To make matters worse, the most talked about production was There Will be Blood, which was already Oscar nominated and released in the US. All this considered, there was not a sufficient festival buzz conducive to brokering huge cash deals.
Arthouse Films head of acquisitions and production David Koh told Variety “The strike has not affected international, as far as we can see. The world has become slightly more real and diversified in its tastes.” Possibly explaining the strength of documentaries, (eight were purchased at Sundance), and foreign language films.
Indeed, it is the international market that appears to have taken most advantage of the lack of mainstream US product being made.
So, for independent productions, it is business as usual; the writers’ strike has not affected the industry in any positive way from the evidence.
Time will tell what affect the potential actors’ strike will have on the industry come July, but if independent filmmakers want to capitalise then they may wish to diversify and address the quality of their product.
Colin Scott – Hoping that the writers strike agreement will include the demand for better episodes of Lost.
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