Charting the new globe-trotting science of moviemaking

Today, movies generate 70 percent of their revenue abroad. This has Hollywood
studios playing to the tastes of viewers from São Paulo to South Korea—and
employing all sorts of savvy new rules to build global box-office sensations.

SCREENPLAY

Set the Movie in a Growing Market—or Nowhere.

Two of last year’s highest-grossing movies, Fast Five and Rio, were set in Brazil, a
rapidly expanding market. Three of the most successful Hollywood ventures of all
time—Harry Potter, Avatar, and Lord of the Rings—take place in fantasy worlds that
are home to more than one nationality.

Riff on an Established Enterprise.

In an effort to revive its tired action-figure brand, the toy giant Hasbro joined forces
with Paramount and DreamWorks to make Transformers. Result: box-office and toy
sales both soared, especially overseas.

Don’t Offend Billions of Would-Be Viewers.

MGM’s yet-to-be-released update of the Cold War thriller Red Dawn was originally
shot with Chinese villains instead of Soviets. In deference to China’s growing clout,
MGM turned the bad guys into North Koreans during editing.

CASTING

You Always Want Will Smith.

Long known as the only remaining golden ticket in Hollywood, Smith appears in
relatively few roles—the better to maintain his global winning streak.

Except When You Don’t.

For fantasy and superhero franchises, a fresh face is ideal—especially if accompanied
by a British or Australian accent, which can feel more universal than an American
one.

But the Right Co-Star Can Make Anyone Bankable.

Adam Sandler has a solid global track record largely because of his co-stars—Salma
Hayek in 2010’s Grown Ups and Eugenio Derbez, a popular Mexican comic, in last
year’s Jack and Jill ensured large audiences in Latin America.

Dub Animated Movies With Local Actors—or Hire Bilingual Superstars
From the Start.

When DreamWorks Animation added Antonio Banderes’s Puss in Boots character to
the second Shrek movie, box-office sales tripled in Spain and doubled in Mexico and
Brazil. Banderas’s Puss in Boots spin-off has so far earned 72 percent of its $500-
million-plus box-office haul abroad.

PRODUCTION

Film in 3-D and IMAX.

Less than 20 percent of 2011 U.S. box-office sales came from 3-D movies, but in
booming markets like Russia, Brazil, and China—where 40 percent of 2011 box-office
sales were from 3-D films—novelty cannot be overvalued or underdone.

Shoot in as Many Cities as Possible.

After Cars, Pixar’s 2006 paean to American auto culture, underperformed abroad,
the studio set the sequel in Paris, London, and Tokyo and on the Italian Riviera.

Take Advantage of Foreign Labor.

Since Peter Jackson launched the Lord of the Rings trilogy from New Zealand,
fantasy directors have been lured there by CGI expertise and tax breaks. At one point,
Jackson, Steven Spielberg, and James Cameron were simultaneously making global
blockbusters in the 200,000-person city of Wellington.

PRODUCT PLACEMENT & LICENSING

Pepper the Film With International Brands.

When a character gulped a Shuhua low-lactose milk in the latest Transformers
movie, DreamWorks and the Chinese dairy company Yili Group both benefited—the
latter from pitching its product to Chinese viewers, who spent an astounding $146
million on tickets, and the former from charging Yili big bucks for the privilege.

The Toys Can Make the Movie.

Cars performed less well than Pixar’s other films and received middling reviews, but
it sold more than $10 billion worth of merchandise—thus guaranteeing a sequel. To
maximize licensing opportunities, Cars 2 introduced a fleet of foreign characters,
including a Citroën, a Honda, a Ferrari, and an Aston Martin.

MARKETING & RELEASE

Choose Politically Benign Titles.

When releasing Captain America: The First Avenger, Marvel worried about an anti-
American reflex in Russia, Ukraine, and South Korea—so the movie was simply
called The First Avenger in those markets.

Parade Your Stars Around the World.

In 2005, long before Brazil became the box-office behemouth it is today, Will Smith
flew to Rio to promote Hitch during Carnival. Today, promotional stops in Rio—and
in Mexico and Russia—are nearly mandatory for actors.

Use Release Schedules and Premieres to Send a Message.

The U.S. release of Steven Spielberg’s Tintin, based on a comic beloved in Europe but
largely unknown in the States, was almost an afterthought, scheduled two months
after the movie’s European premiere.

Studios now choose premiere locales by box-office power: Fast Five and Rio opened
in (of course) Rio; Mission Impossible—Ghost Protocol in Dubai; and Transformers:
Dark of the Moon in Moscow.

Nicole Allan is an Atlantic senior editor – 25 April 2012.

The shock & awe(some) parody on reality television and terrorism has successfully
shot a missile directly into the heart of the movie capital. The small Melbourne
movie, 10TERRORISTS!, that launched at the Greater Union as part of the
Melbourne International Comedy Festival on the 29th of March is getting its West
Coast Premiere in Los Feliz in late April. As an official selection of the 11th Los
Angeles Comedy Festival (the largest comedy festival in the United States), it has two
screening and is one of only six feature films chosen.

“Making the decision to go with the Comedy Festivals seems a good fit”. says
producer, Andrea Buck. “Although the film is screening as part of the Buffalo Niagara
Film Festival on the 18th April. There is also one final screening here in Melbourne
on the 20th April at The Greater Union at 9.00pm”

In this high-octane comedy, a Los Angeles producer steals from popular Reality TV
formats, hiring three ex-military judges to seek out the ultimate “amateur master-
terrorist. “We are parodying the producers and the very city of Los Angeles – with
footage having being shot there” says producer/ director Dee McLachlan. “But I’m
sure Hollywood can laugh at itself”.

This film is a big departure from their previous feature, THE JAMMED, the
acclaimed 2007 sex trafficking thriller, that burst onto the Australian film scene in
2007. Mclachlan used some of the cast (Veronica Sywak, Masa Yamaguchi) and crew
from THE JAMMED (Cinematographer Peter Falk, Costume designer Jill Johanson,
Sound recordist Rob Hornbuckle) to shoot principal photography in only 8 days. “We
could only do this because we had a great crew and very talented actors” says
McLachlan.

10terrorists media release – Friday 20 April 2012

Cannes, which has announced its 2012 line-up, has some serious competition. As
Tribeca begins and ahead of Sundance London, our critics examine the big hitters
on the film festival circuit.

Sundance London runs from 26 – 29 April at the O2

It has been a quiet few months on the film festival front. The last two biggies,
Sundance and Berlin, were back in the depths of winter; but now things are suddenly
getting interesting. Tribeca, the New York trendoid-magnet, has just started, and
Cannes, the swanky Cote d’Azur schmoozathon, has reared its finely contoured head
on the horizon. The UK is even getting in on the action, with the much-anticipated
arrival next week of Sundance London, an offshoot of Robert Redford’s indie-maven
event in Park City, Utah.

Sundance London is an example of that industry buzzword “diffusion”, whereby
name events set up franchises overseas. Tribeca has been doing it since 2009 in
Qatar, co-organising the Doha film festival. It’s a byproduct of the digital
age; festivals are powerful brands, and no longer seen as single-location physical
events. Sundance is following the NFL to the UK capital; American football has been
played there, on and off, since 1991. But whether Sundance London will discover that
setting up shop in the O2 arena in Greenwich is not such a good idea remains to be
seen; even free-floating global brands need to make sure their physical dimension is
both attractive and accessible.

Be that as it may, film festivals are asserting themselves ever more strongly; the
competition between them is increasing as they jostle for supremacy. It never stays
still: some have forged ahead, some have fallen behind, as the film world itself
evolves and retrenches. You might judge them by the amount of wet-from-the-lab
premieres they get, or how many A-listers turn up to pad across the red carpet, or

how many deals get struck behind the scenes. So here, taking all that into account, is
our assessment of the ins and outs, the ups and downs, and the winners and losers of
the festival circuit.

–

Andrew Pulver

Sundance

Robert Redford’s indie showcase is still a mecca for credible film-makers eager for a
leg-up. Its position in the calendar (January) means that Sundance manages to both
steal a march on the likes of Berlin and SXSW … and potentially nobbles itself when
it comes to chances of Oscar success. A film must sustain 13 months of buzz if it is to
start in Park City and triumph in Hollywood.

USP Arty dramas, spiky comedies, US-centric documentaries (the category with
which Sundance has lately enjoyed the greatest ratio of Academy Award success).

Audience Bona-fide directors to watch, buyers, US-centric press and minted yanks
eager for a hol in which the apres ski is seeing films and spotting slebs.

Glamour The winter sports backdrop lends a curiously hedonistic air, but the films
themselves are often screened in fairly small town venues, such as a gymnasium.

Credibility Still riding high on a reputation built on breaking major talent such as
Kevin Smith, Robert Rodriguez, Quentin Tarantino, Steve James, Paul Thomas
Anderson, Steven Soderbergh, Darren Aronofsky and Jim Jarmusch. And, even in
middle age, still the hippest fest. But it needs to keep hitting big winners out of the
park or start branching out (cf Sundance London).

Anglophilia Tasteful but sporadic. Stephen Frears and James Marsh both had films
here this year. But it’s a long way from home, in every sense.

Friend of Oscar Passionate, but prone to tiffs. In 2010, 15 Academy nods came
from nine Sundance films. But in 2011, though two documentarynominees were
shown first in Utah, there was less love for the fiction picks (Like Crazy,
Tyrannosaur, Martha Marcy May Marlene).

Harvey or Haneke? The big fella would feel at home. But Haneke is too actually
icy for these fluffy peaks.

–

Catherine Shoard

Berlin

The more serious, less glamorous younger sibling of Venice, Berlinale brings the heft
of the arthouse with most of the glitz buffed off. If celebrities do arrive it is often to
promote Project Worthy (Ralph Fiennes with Coriolanus in 2011,Angelina Jolie
with In The Land of Blood and Honey this year). Perhaps the cold keeps the A-list
away?

USP High-profile documentaries (Pina, The Cave of Forgotten Dreams andMarley in
recent years).

Audience With venues spread across Berlin from its Potsdamer Platz hub, the
festival does a great job of opening up its programme to the whole city. You’ll see
queues of last-minute ticket hunters stretching back from the booths in the Arkaden
shopping centre, while information on upcoming events is splashed liberally across
the U-bahn. A truly democratic festival serving a public with a huge appetite for film.

Glamour Not much. Certainly nothing to compete with the sparkle of a celeb-
crammed Croisette on a sunny day. Berlin is a fascinating city, but far from easy on
the eye. And did we mention the weather?

Credibility High. Berlin’s competition strands are varied and wide-roving. The
talent campus, which invites young film-makers from around the world to participate
in a week’s worth of workshops hosted by that year’s big names, is an indication of
the festival’s dedication to supporting new work at grassroots level. The Shooting
Stars event, which brings together young actors from across Europe “to further
future work opportunities”is well-meaning, if a little off the pace. The UK’s
representative this year? Riz Ahmed.

Anglophilia The run of success in the early noughties for British (co-)productions
by Patrice Chéreau (Intimacy, 2001), Paul Greengrass (Bloody Sunday, 2002)
and Michael Winterbottom (In This World, 2003) has slowed recently. Brits tend to
get a decent spot on the jury though – Mike Leigh took the head’s chair this
year, Tilda Swinton was 2009’s bigwig, while Charlotte Rampling had the honour in
2006.

Friend of Oscar? Berlin’s Bears awards are often ignored in LA, but the festival
does occasionally foster an Academy hit. The last 12 months have been good thanks
to the success of Asghar Farhadi’s A Separation (best foreign language Oscar) and
Wim Wenders’ Pina, which also had its debut in Berlin, and was nominated for best
documentary.

Harvey or Haneke? Austerity, severity, humility – Berlin likes Mike.

–

Henry Barnes

Cannes

Cannes dominates the European festival circuit. With a massively prestigious
competition list, the Un Certain Regard sidebar and the separately programmed
Director’s Fortnight and Critics’ Week, it really can hoover up the best of
international cinema. And in the colossal rotunda at the back of the Palais building, a
gigantic, thriving market keeps the atmosphere feverish. There is a massive cop
presence on the streets to deter those who feel like nicking some bling from
begowned and tuxedo-ed types on the Croisette.

USP Cannes shrewdly balances upscale international cinema with intelligent and
vaguely auteurist Hollywood fare, finding space for blockbusters such asPirates of the
Caribbean out of competition. Also showcases sensational re-releases of classic
movies.

Audience The festival is not open to the public; everyone needs press or
professional accreditation, but tickets are made available to people who live in the
town. A vast media army rolls up every year.

Glamour Every night the red carpet is packed with the Hollywood names adored by
Cannes’ commercial sponsors – chief among them L’Oréal – French telly stars and
exotic Euro-celeb royalty whose tans seem to have been obtained on Alpha Centauri.
Until recently, the red-carpet steps were flanked by a quasi-military képi- wearing
honour guard, but this has been quietly dropped: a rare example of Cannes toning
things down. Elton John andHarvey Weinstein often host A-list parties up the coast
in Antibes.

Credibility Still very high, although things took a dip in 2003, with a dismal lineup
of films, which included Vincent Gallo’s hysterical The Brown Bunny. But the
competition films, and the eventual Palme d’Or, are widely and respectfully
discussed and generally get shown around the world.

Anglophilia Reasonable. Cannes has given its top prize to six Brits: Carol Reed,
Lindsay Anderson, Alan Bridges, Roland Joffe, Mike Leigh and Ken Loach; seven if
you count the US-born Richard Lester. It has a soft spot for its favourite UK master,
Loach, but infuriated Leigh by turning down Vera Drake in 2004. (In high dudgeon,
Leigh took it to Venice where it won the Golden Lion.)

Friend of Oscar? Not really: generally, Cannes is a cultural alternative to the
Academy. This year’s big winner The Artist was unveiled in Cannes, and the Palme
D’Or, Terrence Malick’s The Tree Of Life, did get some Oscar nominations, but the
winners tend to be strictly non-Oscar, and the Academy’s foreign film picks are not
usually influenced by Cannes.

Harvey or Haneke? To a remarkable degree, both: Harvey Weinstein is a big
Cannes presence, proclaiming his robust views on the quality of the films, and
keeping a sharp eye out for acquisitions. Michael Haneke has long been a revered
master in Cannes, and his work exemplifies the difficult, uncompromising work that
finds a berth here.

–

Peter Bradshaw

Venice

Not long ago, Venice vied with Cannes to be Europe’s most glamorous, buzzy film
event, but a quirk in the calendar has seen its status erode. Toronto, with its audience

of Hollywood power-players, tends to get the big autumn premieres and awards
contenders.

USP Classy international art film, new Italian cinema (in the Controcampo Italiano
section). Last year saw three big Brit hits: Shame, Wuthering Heightsand Tinker
Tailor Soldier Spy.

Audience Without a film market, most of the attendees dodging the mosquitos on
the Venice Lido are journalists. (Venice is starting a market this year, so expect a
change.) There’s a healthy attendance from ticket-buying non-delegates.

Glamour Opening night at the Palazzo del Cinema is as flash a red-carpet event as
you could find in Europe. It didn’t take much for last year’s The Ides of March to
tempt George Clooney from his Como hideaway. Stars tend to like a photocall
overlooking the water. But with few promotional events for non-festival movies,
there’s nothing like Cannes’ deluge of A-listers.

Credibility The Golden Lion is arguably as valued as the Palme d’Or, though
perhaps not as newsworthy: recent winners include Lust, Caution, The Wrestler and
Sokurov’s Faust. The career Golden Lion is also a nod of serious substance: David
Lynch, Hayao Miyazaki and John Woo have all been honoured in the last decade.

Anglophilia: Last year’s hat-trick was an exception, as Venice shares Cannes’ slight
snootiness to Brit cinema.

Friend of Oscar? Of increasingly marginal influence. Though Venice is well
positioned for the Hollywood awards season, films with Oscar aspirations tend to opt
for Toronto. Ides ended up spluttering, while Tinker Tailor … drew a blank.

Harvey or Haneke? Leans slightly towards the Harvey end of things. Though
Venice programmes a lot of unheralded art cinema, it’s not exactly a breakout zone
for any of it. Films that do best here are starry art-lite extravaganzas – perfect
Weinstein material, in fact.

–

Andrew Pulver

Toronto

In 1998, Variety wrote that Tiff was “second only to Cannes in terms of high-profile
pics, stars and market activity”. A decade on and Time magazine went one better,
reporting that Tiff had grown into “the most influential film festival, period”. Such
ascendancy is ascribed to its remarkable track record with Oscar tips, but it’s also
down to savvy sidebar programming, swanky new premises, increasingly squeezed
release windows that favour an autumn rather than summer debut for awards
contenders, plus an eagerness on the part of LA-types not to make a longer-haul
flight than they need to.

USP Upmarket Hollywood, with especially enthusiastic cheerleading of Canadian
film-makers (Sarah Polley and Guy Maddin premiered here in 2011). The market is
mushrooming, the punters are enthusiastic yet dignified, and the films are
guaranteed to be the ones you’ll be discussing through to next spring.

Audience The public can buy tickets in a complicatedly democratic system, but
mostly attendees are press, buyers and film-makers themselves. Outside Burbank,
this is the place to catch the movies you’ll need to see ahead of awards season.

Glamour What Toronto lacks in picture postcard backdrops it makes up for with
the sheer slew of A-listers to be snapped next to a medium-height skyscraper.

Credibility The only major gong is the audience award – it’s testimony to the
savviness of punters that this tends to be something pretty classy. That the likes of
Werner Herzog always open their movies here doesn’t hurt, either.

Anglophilia Pronounced, but skewed towards the glossy. The Deep Blue Sea was
here last year, also semi-Brit flicks Salmon Fishing in the Yemen and Anonymous.

Friend of Oscar Bezzie mates. The King’s Speech won the audience award in 2010.
The Descendants, Albert Nobbs, Moneyball and many other gong-magnets chose Tiff
to kick off their campaigns in 2011.

–

Catherine Shoard

Also showing: the best of the rest

Edinburgh

Sean Connery at the opening night of the Edinburgh film festival 2010.

Seems to have lost its way since an initiative to reposition it as a festival of
“discovery”, and to shift it away from the August crowds at the fringe. In doing so, it’s
lost its USP: persuading big shots to turn up in June has proved well-nigh
impossible. Still, it remains a people’s festival, full of students and local cineastes,
even if they have to trek out to the Fountain Park multiplex for screenings. These
days, Edinburgh’s best face is shown in Scottish-interest event screenings, like the
restored version of The Man Who Would Be King, or this year’s opener, Brave, from
the Pixar team. Heavyweight premieres though, are extremely thin on the ground. AP

London

As Edinburgh suffered, London gained. The strategy review that branded
Edinburgh’s festival one of “discovery”, designated London a “major international
festival”, with funding to match. Taking over two massive cinemas and building a
giant gantry in Leicester Square for the world premiere of Wes Anderson’s Fantastic
Mr Fox in 2009 was a statement of ambition, and iIts exhaustive programming of
mainstream film ensures a good celebrity quotient, and it benefits from the scramble
for Bafta votes that begins in late autumn. Studios now compel their stars to visit
London to woo support at private British academy screenings, then pop across the
road to LFF events. All this activity is in addition to London’s traditional practice of
programming as many foreign films as possible, catering for and supported by the
capital’s multiple immigrant communities. And now its principal sponsors, the BFI,
have become British cinema’s lead agency, it can only get better.AP

San Sebastian

In the Basque region of Spain, the festival supports not just Spanish (Pedro
Almodóvar had his first festival outing at San Sebastian) and Latin American but
Basque cinema too. (It has its own Zinemira. he city resembles a laid-back Rio.
Festivalgoers turning up for movies at the modernist Kursaal Palace will see surfers
pad past to the beach. There aren’t many important premieres, but discoveries are
there to be made. PB

SXSW

“Keep Austin weird” say the T-shirts, and SXSW skews towards the off-kilter, with
fanboy and genre flicks finding an especially welcome berth, while choice picks from
Sundance (from two months before) ensure indie cred. Though headlines at SXSW
are generally made in the music and interactive events that run alongside, the film
wing has ballooned in impact under artistic director Janet Pierson. Recent debuts
include Attack the Block, Kill List, Tiny Furniture and Natural Selection. But SXSW
is defined by discussion and inclusivity, panels and parties: the friendly vibe
stretched to public and talent alike, with a happy bleed between the two. CS

Telluride

Not so much the little festival that could, but the one that does while the 0.1%
watches. Tucked up in the Colorado mountains, Telluride’s clique of über-cinephiles
is drawn by its tendency to soft-launch an Oscar-grabbing goodie (eg, The King’s
Speech, The Crying Game) before the competition (Toronto, which starts a few days
later) gets a sniff. The Davos of the film calendar where unspoken rules dictate that
all new films must be US premieres and that the line-up remains a secret until the
chosen arrive.Clean air, buzz films – but the cheapest entry is $390. “The most
happening art movie town in America” (Roger Ebert) – but it makes Cannes look
democratic. HB

Tribeca

Conceived by Robert De Niro in the wake of 9/11, to draw investors back to lower
Manhattan. It has done the job – the festival has generated around $725m in local
economic activity over its 11 years – but, while local celebs are supportive and
attendance continues to climb, it can’t draw international talent. Marvel’s Avengers
Assemble, the new Morgan Spurlock’s Mansome and indie darling Daryl Wein’s Lola
Versus are premiering this year. That’s a film about protecting New York, a film
about finding love in New York and a film made in New York. Tribeca’s efforts to
jump the nest include the Doha Tribeca film festival – a collaboration between the
non-profit and the Qatari state that launched Jean-Jacques Annaud’s Black Gold in
November last year – and an online streaming service that makes festival films
available across the US. Their success could dictate how far De Niro and co can take
Manhattan. HB

The Guardian. Peter Bradshaw, Henry Barnes, Andrew Pulver, Catherine Shoard – guardian.co.uk, Thursday 19 April 2012