L'Alternativa Professionals

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Autor de la transcripción:: Edgar Gallart

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00:00:00:00 inici
00:00:10:00 presentació
00:01:07:00 contextualizar com està la situació de la distribuició en Europa per després focalitzar i contrastar com està a Catalunya i Espanya.
00:01:14:00 presentació de Jean Pierre, distribuidor, productor i gestor de sala de cinema.
00:01:46:00 -english
00:02:09:00 Quick presentation of Gardelli, himself. His origins into cinema.
00:03:25:00 Our first film was North by Northwest by Alfred Hitchcock and King Lear de Jean-Luc Godard and the last ones are Sameblod, the sweedish film
00:03:42:00 and a tribute to Ingmar Bergman with 20 films.
00:03:48:00 We have released almost 200 films
00:03:52:00 Antonioni, Fassbinder, Hitchcock, Pasolini, Brian de Palma, Carlos Reygadas, Jaime Rosales
00:04:01:00 different festivals: Cannes, Berlin, Venise, Toronto, San Sebastián...
00:04:05:00 Prizes: Caméra d'Or, Las Acacias, Pablo Giorgelli, Golden Bear, Bets foreign film Alabama Monroe Oscar nominated 2014.
00:04:21:00 Our company releases 810 films per year and our lineup is just to find a good film to share with a maximum of people.
00:04:36:00 What is the situation today of cinema in France?
00:04:41:00 In France, last year, 200 films were produced. There are more than 5000 screens, 200 million people per year going to the cinema.
00:05:00:00 A good level compared to other European countries. Fore more than 50 years the French goverment has accompanied the French cinema at all levels
00:05:23:00 through the CNC subsidies to the production, distribution and movie theater.
00:05:34:00 This is a strong involvement and this is the only reason for what we can see the diversity of cinema in our territory.
00:05:45:00 In the 60's an art house movement was created which brings together nearly 1000 movie theaters and allows deep work; for exemple:
00:06:03:00 National program that allows to each school, each college Highschool, to see 3 times per year three films chosen among sellection.
00:06:22:00 For example, in my city, 8000 students can see 3 films (for free) per year.
00:06:31:00 Today, What can we say about the new market of cinema?
00:06:39:00 We are at the crossroads. We can see a change in consumer cinema behavior:
00:06:48:00 Platforms, smartphones, Netflix... the film is becoming more and more fragile,
00:06:59:00 5 years ago, the same film did in France 40.000 of audience today it's 15.000
00:07:08:00 Televisions no longer buy films.
00:07:12:00 Canal Plus is in trouble and the arrival of Netflix changes the rules and creates a new desire to wartch the...
00:07:25:00 Anecdote: Hard to find time to see films on theaters but easy to see series on Netflix.
00:07:39:00 Netflix will invest 8 Billion euros in cinema to change the rules
00:07:50:00 for the professionals this year (2018) Cannes Festival waswas horrible. Venice Festival was the Netflix Festival
00:08:00:00 So many good films that will not be in our screens. And we need good films
00:08:15:00 ( showing to the public the french magazine for cinema professionals "Le film français")
00:08:43:00 First page: an advertisement of Netflix.
00:08:47:00 This is the new face of cinema
00:08:52:00 For me, the old model is out
00:08:55:00 We have to resist and must take into account the new behaviour changes.
00:09:03:00 The cinema will continue to produce cinema, it is to us to find the forms to welcome the new public cinema.
00:09:16:00 -Jean Pierre Gardelli finishes his lecture-
00:09:18:00 Xavier G. Puerto: farem les dues exposicions seguides
00:09:23:00 You say the old model is out and actually Oana Radu's project is to open new cinemas around Rumania
00:09:56:00 Rumanian's film festival in North America.
00:10:23:00 Oana Radu:
00:10:34:00 13th festival in New York
00:10:54:00 we work a lot with local Goverment cities
00:11:01:00 developping new law for cinema "Film Etcetera Association" . Minister of culture in Rumania
00:11:16:00 National level of political behavior vs local action (cities, mayors...)
00:11:40:00 Presenting and distributing cinema
00:12:04:00 In Spain things are not that bad when you compare to Rumania
00:12:23:00 The situation is improoving compared to the bad baseline
00:12:43:00 Bernilane. Fighting piracy new models. Rumania second in piracy in the world (without taking into consideration China)
00:13:14:00 also baltic countries piracy. Internet connection
00:14:24:00 people do not want to pay,
00:14:43:00 Rumania, end of comunism. cinema used as propaganda. 430 cinemas Huge cinemas from 700 to 1000 seats
00:15:05:00 in 1989 interest of people in TV
00:15:24:00 30 years later less cinemas only 386 screens
00:15:38:00 90% are new screens. multiplex screens are digital DCP screens. Only 40 old cinemas existing
00:16:12:00 To compare the rate per screen per inhabitant is 20 per 1 million and in Spain is 74 screens for 1 million inhabitants
00:16:24:00 The issue: what is crucial now is the fact of having the cinema as a place of phisical encounter. Accessibility to theaters
00:17:07:00 Report about how many people are 30 minutes or less away from a movie theater. In Rumania is 50% of the people.
00:17:56:00 Eastern European countries have 90% of their population needing a 30 minute trip to a cinema theater.
00:17:58:00 What films can be seen: Distribution of national films
00:18:37:00 Almost 4% of films are Rumanian. In Spain is 18%. Auteur.
00:19:25:00 Xavier G. Puerto: Is there a mandatory ratio of presence in Rumanian's screens?
00:19:37:00 Yes, it's a 5% but really difficult to inforce and report and also these films (the ones produced in Rumania) are shown in not very attractive time slots. 12PM, 1PM...
00:20:06:00 The impact in the box office is 2%
00:20:26:00 It's not all that bad because the number of cinemas is growing right now
00:20:53:00 Rumania's increasing trend
00:21:13:00 Another increasing development: Rumanian films are being more knowned internationally but hard situation in the country.
00:22:16:00 Spaces of old cinema theaters are given to the city halls.
00:23:42:00 1015 spaces are opened by public authorities which have to learn how to manage them
00:24:18:00 Also, guide them on how to restaure and open these spaces.
00:24:26:00 Spain, in Barcelona many cinemas closed. Other business models, screening opera, monthly...
00:25:09:00 Effort working together with cities for the past two years. Europa Cinemas
00:25:50:00 Advocacy work. Why this is important to Mayors...
00:26:08:00 The results are in an early stage but are positive
00:26:25:00 in terms of other mechanisms supporting Rumanian films 10000€
00:27:05:00 Public funds and public. Promotion and audiance. Physical barrier and promotions of films
00:27:53:00 Because of a lack of cinema theaters, there was an explosion of festivals: This is problematic
00:28:57:00 So many festivals whipes out potential audience
00:29:33:00 Law about cinemas obliged to show Rumanian films
00:30:01:00 The prime time slots as law. new law proposal.
00:30:28:00 Two other things Patricia has asked me to mention:
00:30:40:00 Production. Rebate scheme in Rumania. Television and cultural production 35% rebate coproducing in Rumania
00:31:36:00 Two Spanish productions were shot this year in Rumania.Toni Edman
00:32:01:00 The other trend is happening. Rumanian coproductions.
00:32:17:00 Women directors without genre policy Most producers in Rumnaia are women
00:33:25:00 Any Questions or suggestions? ... We are interested on receiving initiatives in order to make distribution in cinema
00:35:01:00 Xavier G. Puerto.
00:35:28:00 Jean Pierre Gardelli. I'm also a producer and have coproduced a film in Rumania, La Crypte (2016) de Corneliu Gheorghita
00:35:56:00 To create dynamics you really need a good balance with different elements:
00:36:41:00 A good film, a good theater with a good programming, a good distribution,
00:36:48:00 and I insist about the place since there is a big difference between a multiplex and a cinema theater.
00:37:11:00 One of the French miracles is that the French goverment is that the State in France has helped cinemas
00:37:27:00 and now we must imagine other types of venues to receive the films and audiences
00:37:47:00 The question is: If you distribute a film which is not French in France, is there some kind of help.
00:38:00:00 Yes, France does offer ome help in particular lineups to distribute films in the French cinemas.
00:38:25:00 And we can also, sometimes, get help from the foreign States where we shoot. Germany, Italy, Brazil... but not Spain
00:38:33:00 Question: Not showing just films in cinemas. Giving the audience more than a film.
00:39:58:00 Oana Radu: This is being done but the problem is that you need to give a profile, a certain regularity to the programming.
00:40:52:00 Matching films with expiriences. Offering events, inviting directors, actors...
00:42:01:00 Jean Pierre Gardelli: It's what we already do in France.
00:42:19:00 Xavier G. Puerto: Distributors complaining but also using festivals to distribute the films
00:43:01:00 Tiff is an amazing festival in Rumania, the most important one and has an impact on promoting Rumanian cinema.
00:43:24:00 The myriad of other festivals besides Tiff
00:44:03:00 Xavier G. Puerto:
00:44:20:00 There are some Spanish directors that have more admitance in France than in Spain: Jaime Rosales, Marc Recha, Albert Serra, Oliver Laxe.
00:44:42:00 Link between Spanish film and French public. Almodovar is a king in France. The french audience likes Spanish cinema.
00:45:15:00 French public is educated about the diversity of cinema and welcomes Spanish cinema when it has a certain level of quality.
00:45:34:00 The problem is that, in general, I think the average level of quality of Spanish cinema is not good enough for the French public.
00:46:10:00 We can see good films in festivals but making these films to travel is always a difficult thing
00:46:32:00 Oana Radu:
00:46:33:00 I would like to mention that France invests a lot of money on educating audiences. This is the key
00:47:28:00 Minister of education is building the audience of 15 years from now.
00:48:10:00 Question:
00:48:25:00 What do you think is the next thing to do for people to go to theaters rather than staying home watching movies.
00:49:33:00 Jean Pierre Gardelli:
00:49:34:00 We must resist.
00:49:52:00 You need to protect the production, the diversity of cinema and the theaters.
00:50:09:00 Anecdote: Presentation in a cinema school; 30 students among which very little of them did usually go to cinema and almost 20 were subscribed to Netflix.
00:50:40:00 There is a behavior change. We must continue to make this link between venues and the public.
00:51:12:00 Oana Radu:
00:51:36:00 Oana Radu: New trends in the United States. New payment and subscription formulas for cinema theatre audiences. New Espiriences.
00:54:28:00 Question:
00:55:49:00 Rumanian new wave movies not being distributed.
00:56:03:00 Question: How can we deal with distribution
00:56:40:00 Oana Radu:
00:56:48:00 Oana Radu: Old school caravan going to cities showing movies. Platforms and piracy.
00:58:32:00 Cine Pub channel in YouTube shows Rumanian cinema with subtitles for free.
00:59:34:00 Questions to Jean Pierre: Among the Spanish directors, who do you think could have a good distribution in France.
01:00:53:00 The Audience of Jaime Rosales is not a very big audience with the exception of "La Soledad" which had 50.000 admissions.
01:01:27:00 For instance, "Champions" ("Campeones") 100.000 admissions. It's difficult to find theaters for the release in France.
01:02:15:00 Spanish Festival, Nantes, Marseille... is a good place to exhibit these movies
01:02:58:00 All the schools in south-west of France want to see Spanish movies but...
01:03:44:00 Link between Frenchtheaters and Spanish cinema
01:04:05:00 Le Latina theater.

Personas y entidades:

Duración: 1h 4m 50s

Grabado en: 27.11.2018

Oana Radu (gestora cultural en Bucarest, Rumanía) y Jean Pierre Gardelli (distribuición de cine) hablan de nuevos modelos de distribución en la era de Netflix.

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