Pubblicato il 19/06/2016 12:21:08
CINEUROPA NEWS 2016
Ogni giorno Cineuropa pubblica news sull’attualità cinematografica europea. Se cerchi un tema, una notizia o un nome in particolare puoi effettuare una ricerca grazie al sistema di ricerca di Cineuropa (bottone in alto a destra)
39 notizie (televisione) disponibili in totale a partire dal 27/08/2002. Ultimo aggiornamento il 17/06/2016. 20 notizie (televisione) inserite negli ultimi 12 mesi.
'IMMATURI DIVENTA UN SERIAL TV'
15/03/2016 - Articolo di Vittoria Scarpa
Cominciate ieri a Roma le riprese di una serie in otto puntate tratte dal fortunato film di Paolo Genovese, per la regia di Rolando Ravello. Produce Lotus per Mediaset.'Immaturi' - La Serie riporta sul piccolo schermo le avventure del simpatico gruppo di 40enni che si ritrovano ad affrontare per la seconda volta i tanto temuti esami di maturità. Una commedia brillante e sentimentale che porta una generazione a confrontarsi con un’altra e con la vita che, dopo vent’anni, è andata da tutte le parti, fra sogni e disillusioni. Il progetto nasce da un soggetto di Paolo Genovese (cui è affidata la direzione artistica della serie tv), Marco Alessi, Paola Mammini e Giovanna Guidoni. Genovese, Mammini e Guidoni firmano anche la sceneggiatura.
Del nutrito cast fanno parte Ricky Memphis, Luca Bizzarri, Paolo Kessisoglu, Maurizio Mattioli, Sabrina Impacciatore, Nicole Grimaudo, Irene Ferri, Paola Tiziana Cruciani, Ninni Bruschetta, Paolo Calabresi, Ilaria Spada, Daniele Liotti, Carlotta Antonelli e Andrea Carpenzano. Le riprese, della durata di 25 settimane, si svolgeranno tra Roma e la Sicilia. Il direttore della fotografia è Fabrizio Lucci.
A BREVE IN ONDA 'THE YOUNG PoOPE' di Paolo Sorrentino
16/06/2016 Articolo di Camillo De Marco
L’attesissima mini serie del premio Oscar italiano, da ottobre in tv. Una co-produzione internazionale tra Italia, Regno Unito, Stati Uniti, Francia e Spagna, protagonista Jude Law. “Chi sei?” “Sono una contraddizione”. Promette provocazioni e scandalose sorprese tra le ovattate mura del Vaticano The Young Pope, l’attesissima miniserie tv firmata dal premio Oscar italiano Paolo Sorrentino che andrà in onda da ottobre su Sky Atlantic nel Regno Unito, Italia e Germania, HBO negli Stati Uniti e Canal+ in Francia.
Le vesti immacolate del Papa sono indossate da Jude Law, che nella serie è Lenny Belardo, conclamato pontefice con il nome di Pius XIII, il primo Papa statunitense nella storia della Chiesa Cattolica. Nelle immagini del teaser, molto “sorrentiniane” e inquietanti, lo vediamo fumare accanitamente, assorto nei suoi pensieri, in quella che il regista ha definito una controversa storia sulla fede e su come le persone “gestiscono e manipolano il potere”. “Chi sei, Lenny?”, gli viene chiesto nel teaser. “Sono una contraddizione. Sono Dio: uno e trino. Come Maria, Vergine a Madre. Come l’Uomo, il Bene e il Male”, risponde. “Cosa intendi fare?” è la domanda successiva. “Rivoluzione.”
Si indovina insomma un giovane Papa dubbioso e risoluto allo stesso tempo, vecchio stile a molto moderno, ironico e senza scrupoli, in un lungo percorso di solitudine umana. Nel cast stellare di The Young Pope figurano, accanto all’affascinante attore londinese, Diane Keaton nei panni di Suor Mary, una suora americana che vive nella Città del Vaticano e che ha cresciuto e aiutato Lenny ad arrivare al pontificato; Silvio Orlando, il cardinal Voiello, segretario di Stato della Città del Vaticano; James Cromwell, il cardinal Michael Spencer, mentore di Lenny; Sebastian Roché, che interpreta il Cardinal Michel Marivaux; Cécile de France, che è Sofia, responsabile del marketing del Vaticano; Javier Cámara, il cardinal Gutiérrez, Maestro delle Celebrazioni della Città del Vaticano; Daniel Vivian, che interpreta Domen, il maggiordomo del Papa; Toni Bertorelli, il cardinal Caltanissetta.
'The Young Pope' è una co-produzione internazionale tra Italia, Regno Unito, Stati Uniti e Francia, prodotta da Wildside e coprodotta da Haut et Court TV e Mediapro. Produttori esecutivi per Wildside sono Lorenzo Mieli e Mario Gianani insieme a John Lyons. Produttori esecutivi per Haut et Court TV sono Caroline Benjo, Carole Scotta e Simon Arnal. Produttori esecutivi per Mediapro sono Jaume Roures e Javier Mendez. 'The Young Pope' è coprodotto da HBO e Sky.
L’APULIA FILM FUND 2016 sostiene la produzione con 3 mln
17/06/2016 - Articolo di Camillo De Marco
Si è tenuta a Roma la presentazione del nuovo bando. In corso in Puglia le riprese del nuovo film di Luca Miniero, concluse pochi giorni fa quelle di Marco Ponti e Edoardo Winspeare. Riparte con una dotazione complessiva di 3 milioni di euro, una delle più alte in Italia, l’Apulia Film Fund, il bando di finanziamento di Regione Puglia in collaborazione con l’Apulia Film Commission, destinato alle produzioni di opere audiovisive che girano in Puglia. La presentazione del nuovo bando si è tenuta mercoledì a Roma. Il presidente di AFC Maurizio Sciarra si è detto particolarmente soddisfatto per i nuovi fondi, più che raddoppiati rispetto allo scorso anno, “che coprono per la prima volta settori della produzione televisiva mai sostenuti prima d'ora. Queste le nuove opportunità e i nuovi modelli che AFC presenta a tutto il sistema audiovisivo italiano”.
Attualmente sono in corso in Puglia le riprese del nuovo film di Luca Miniero, Non c’è più religione, prodotto da Cattleya, mentre si sono concluse pochi giorni fa quelle dei film Io che amo solo te - La cena di Natale di Marco Ponti (leggi la news) e La vita in comune di Edoardo Winspeare (news). Nelle prossime settimane inizieranno in Puglia le riprese di tre lungometraggi diretti da tre autori pugliesi: Vito Palmieri, Pippo Mezzapesa e Pierluigi Ferrandini.
Daniele Basilio, responsabile Progetti Audiovisivi e Produzioni e Roberto Corciulo, Film Fund Manager AFC, hanno illustrato dotazioni finanziarie, tipologie dei progetti ammissibili, le soglie minime di lavorazione in Puglia a seconda che si tratti di fiction, documentari, corti e nuovi format quali, ad esempio reality e talent show. Hanno inoltre evidenziato l’alto numero di opere realizzate nel 2015 sul territorio pugliese, ben 57, di cui 29 hanno beneficiato solo di supporto logistico e le restanti 28 anche di contributo economico. Per l’insieme dei vari progetti lo stanziamento complessivo attraverso il Film Fund è stato pari a 1.2 milioni di euro, le cui ricadute economiche si stimano in oltre 6 milioni di euro.
Stefano Rulli, Presidente del Centro Sperimentale di Cinematografia, ha illustrato l’intesa appena siglata con AFC: “Per i nostri allievi che si diplomano ai corsi triennali si apre la possibilità di confrontarsi con interlocutori veri, fondamentali per misurarsi nella pratica col mondo articolato della creatività audiovisuale”.
DOSSIER: Distribuzione ed esercenti
Metà dei film europei sbarcano in VoD, ma gli americani continuano a dominare l'Europa
di European Audiovisual Observatory.
The European Audiovisual Observatory has just released its latest European film circulation figures for the cinema and VOD industries in the form of a brand new report: How do films circulate on VOD and in cinemas in the European Union, freely downloadable here. Analyst Christian Grece has also given some insights on the report to Cineuropa — read them here.
wo of the themes examined by this report are:
1. The number of theatrical release films making it to VoD.
For the 16,829 films theatrically released in the EU and produced between 2005 and 2014, 8,759 (52%) were available on at least one of the 75 VOD services. When looking at their region of origin, significant differences appear:
• 47% of EU films released between 2005 and 2014 in EU cinemas were available on at least one VOD service (5,046 films out of 10,828).
• 87% of US films released between 2005 and 2014 in EU cinemas were available on at least one VOD service (2,404 films out of 2,748).
• 41% of international films (non EU, non US) released between 2005 and 2014 in EU cinemas were available on at least one VOD service (1,034 films out of 2,506).
• 37% of other European films (non EU – broader Europe) released between 2005 and 2014 in EU cinemas were available on at least one VOD service (275 films out of 747).
The report takes a closer look at the circulation of films in countries of the European Union, on VOD services and in cinemas. It is a follow-up report to the report Origin of films in VOD catalogues in the EU, completed by LUMIERE data on films in EU cinemas.
2. How does circulation in cinemas and VOD compare?
• Release markets: Only international films (non EU and non US) had a wider distribution on VOD than in cinemas, on average in two more countries. All other films have a wider distribution in cinemas than on VOD services, although by a short margin (less than one country).
• Release clusters for cinemas and VOD: Data on EU and other European films shows a certain relation between the number of theatrical release markets and the number of VOD release markets. For US and international films, the data suggests that no strong link exists. EU films’ later availability on VOD in a given country therefore appears to be influenced by their previous theatrical release.
• The impact of film genres and theatrical admissions on theatrical release markets and VOD country availability are furthermore explored in the report in section 4.
Notes on the methodology of this report.
This report takes a closer look at the circulation of films in countries of the European Union, on VOD services and in cinemas. It is a follow-up report to the report Origin of films in VOD catalogues in the EU, completed by LUMIERE data on films in EU cinemas.
The four objectives of this follow-up report are:
• to explore the underlying facts of the gap between the cumulative catalogues offering and the film pool of EU films on VOD services by taking a closer look at film availability on a country level (Section 1)
• to compare the results with the circulation of films in cinemas in EU countries and to highlight similarities or differences (Section 2)
• to show how many films produced and released in EU cinemas in the period 2005 to 2014 were available on VOD services on a country level (Section 3)
• to highlight differences between the circulation of films in cinemas and on VOD for films produced between 2005 and 2014 by comparing the performance of films released in EU cinemas that were available on at least one VOD service and by highlighting the impact of film genre and theatrical admissions on the country availability on VOD services for films (Section 4)
The data on VOD encompasses 75 transactional VOD services and their film catalogues in the 28 EU countries; the data on films in cinemas includes all films on release and produced between 2005 and 2014 in the EU.
Industry Report: Distribution and exhibition
European films can travel without becoming mainstream
by Paraskevi Karageorgu
Three main topics were discussed at the European Audiovisual Observatory (EAO) conference at the Cannes Film Festival: How important is export to European cinema?; What makes European films travel?; and structural changes and public policy measures. Speakers this year were Stefano Massenzi, head of acquisitions and business affairs at Lucky Red (associate producer of The White Ribbon [+], Funny Games [+] and This must be the Place [+]), Daniela Elstner, president of the French Association des Exportateurs de Films and member of Europa International’s board, Andrew Lowe, president and director of Element Pictures (Oscar-winning films Room [+] and The Lobster [+]), and Ted Hope, head of motion picture production at Amazon Studios, while the panel was moderated by Michael Gubbins, Ffilm Cymru Wales chairman and partner at SampoMedia.
The EAO presented some very interesting data, which formed the basis for the panel’s discussion. Here are some of the numbers that were highlighted: of the 1,500 films that are produced each year, one in two has at least one release outside their domestic market*. In terms of admissions 140-160 million tickets were sold outside European countries’ domestic market worldwide in 2015 (In 2014, data from China was available for the first time, which showed 50 million admissions, but only for 26 films). Over 40% of the overall total admissions to European films were actually generated outside their domestic market. As a whole, the data shows that exports are quite significant for the European film industry, but while the number of exported films has increased, the admissions have remained more or less stable, thus fragmenting the market as opposed to helping it grow. The data also shed light on the countries for which film exports are very important, revealing a huge concentration: out of the 2,800 films that are being exported every year on average, the top 100 films account for 90% of the admissions and only 26 European films manage to sell more than 1 million tickets outside of Europe, 93 sell between 100 thousand and 1 million, and the majority of films generate between 1-100 thousand admissions:
Therefore, exporting is significant on a cumulative level, but only for a comparatively small number of European films. In terms of absolute admissions, the UK and France regularly sell more than 50 million tickets outside their domestic markets; they are followed by Germany, Spain, Belgium, Sweden, Denmark, and Italy. Therefore, it is very difficult to talk about European films as a whole, when there are such large discrepancies between European countries’ film industries. However, this data only accounts for theatrical releases, and does not include DVD, TV, VoD.
The EAO also presented a very interesting portrait of the shared characteristics of successful European films. Noting that is impossible to take into account intangible values such as talent and originality, which are major driving forces behind the success of European films. According to the data, that dissected the 100 most successful European films for 2011-2014, the following are the key characteristics shared by the most successful European films:
• Budget – there is a strong correlation between the production budget and the average admissions it will generate. If a film’s aim is to sell 4 million tickets, it will need a budget of more than €10 million (based on a data from the past 5 years), which is much higher than the average European film budget;
• English language – English language films taking 90% of the admissions;
• Drama –this genre works best for European film export, representing four out of ten titles;
• Festival Awards – 70 of the top 100 European films have won awards at festivals;
• Familiar content – audiences are somewhat familiar with some cultural aspects of the story
• Co-production – 62 of the top 100 European films are produced as co-production;
• Having a sales agent;
• Having a US Distributor – which clearly has a big impact of the success of European films, with 72% of the top films that sold more than 4 million tickets, had a US distributor attached.
On the topic of the role of public policy in providing a thriving environment for European film industry, Maja Cappello, Head of the Department for Legal Information at EAO, shed light on the three most important EU policy instruments concerning the audiovisual sector: Creative Europe’s MEDIA programme (with a 2016 budget of €103.6 million), the Single Digital Market and the Audiovisual Directive. All three are aimed at assuring availability and visibility of European films. Part of the EU’s focus in achieving this is providing funding opportunities and setting up policies and good practices on a national level in areas such as film literacy, co-production, copyright, cross-border access, advertising measures, and publicity. The following two graphs by the EAO illustrate the availability and visibility of European films on VoD:
Armed with these figures and their own points of view, the panellists were faced with one of the most challenging questions for the European film industry: how can we make European films travel? For Stefano Massenzi, everything starts in the cinema and each actor in the film production chain has a responsibility to create an audience for new talents and new content. According to him, policy-makers are also responsible, as they have the power to educate the audience. He also stressed that the use of English as a key to success is a conservative idea, using the performance of French cinema as an example, given the characteristic of its language is part of its success.
As such, many things have stayed the same: the film production chain, successful branding methods and the need for companies that understand the market. However, the audience has changed: it has become more demanding, more technologically aware and is overwhelmed by choice. This beggars the question, how will the film industry manage in an overcrowded market, in which it is more and more difficult to get to the theatre? For Daniela Esthner, production companies must always be aware, and constantly analyse their films, ensuring they tackle the right topic, at the right time, as only then will people go to the cinema and discussion be provoked. However, for their successful distribution, emerging models need to be developed, a good example is festivals collaborating with VoD platforms or TV. She also brought up a very interesting take on piracy, arguing that this practice exists for films that people actually want to see, with an existent demand. Therefore, by trying to solve one problem, we could create another and generating demand should be the priority, in order to build an audience for new talents and great ideas, because VoD doesn’t create demand, it builds on the audience that already exists.
Andrew Lowe gave a very interesting insight, stressing the importance of key international partnerships in making a film an international success. He pointed out that even a new company, such as A24 in the US, can have astonishing results, which was the case with Room and The Lobster, securing future collaborations (A24 picked up Lanthimos’ next film). Both projects share unique talent and had something interesting to show audiences. The Lobster is a very interesting example, as it is a typical European co-production, emerging form the director’s needs (such as shooting location, crew origins, studio etc.) and at the same time providing something that audiences have never seen before, a new cinematic language. When asked about the privileged position of the English language, Lowe pointed out that the film’s idea and talent are still more important, using Ida [+] as an example.
Ted Hope, agreed with Massenzi that a film’s theatrical release determines its value and this is the starting point from which you can build an audience, therefore a launch that promises audiences something new and interesting is crucial. He also noted that, a film needs to create a sense of urgency and an ability to change behaviour patterns, to which specificity is a key, “I look at specificity of character, culture and individual experience, which is universal and talks directly to the customer”, meaning creators and distributors establish a relationship with their audience. Also, according to him, having completed films at festivals searching for buyers is often inefficient, as it is important for a company to get involved early on. Ted Hope also argued that good ideas are the major driving force behind the success of European films, not economics and, in his view, piracy exists for a reason, as it is simple, convenient and free. However, there are other ways for companies to offer added value to their customers: quality sound and picture, service packages, amongst others, that bring something different. It is not just a question of the quality of the goods, but of the overall experience, which, according to Hope, is more urgent than ever before.
*Only the major co-producing country is taken into consideration, in case of co-production in order to avoid double counting
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