Category: Hollywood


#Brexit – How does it affect the UK Film Industry ?- Conjecture and Opinions

Well, after reading the article by Stephen Follows copied in its entirety below, I’m certainly not in agreement and have been prompted to provide my own views on this historic and groundbreaking referendum held on 23rd June 2016 in the UK now commonly called the “Brexit” vote.

Britain is well-prepared and will triumph gloriously as the panic subsides. I am most probably going to be critiqued on my statements here and wildly criticised for being contrarian or called worse? Let me start by stating that the film industry generally and globally is going through a dynamic disruptive metamorphosis; changes are inevitable as strong growth in media continues, and as new business relationships are consummated in a rapidly changing economic landscape. The models have changed. Funding productions and distributing content is no longer utilising film funding mechanics that were developed and put in place decades ago, and before the Internet changed everything.

L2L Brexit Opportunity

Countries and their governments throughout the world are adopting film incentives processes building on local strengths as they have researched and found how important attracting filmmaking in their jurisdictions is to other industry sectors within their borders. Film incentives emanated from Hollywood and were initiated by “Runaway Production“. In the late 1990’s Hollywood film industry guilds, backed by US studios and media companies retained a company that produced the Monitor Report to conduct an investigation into phenomenon. The global success of production incentives and the migration of feature film production from the U.S.A. to the world spurred further in-depth research and data collection.

 

The outcome of the Brexit vote in the UK has rippled rapidly through the financial services industry, banks and global markets and will continue for some time yet; all are experiencing very high levels of volatility and this has sent shock waves around the world.

Brexit Pound Drops

Record drops in Pound Sterling currency trading

 

The British Pound has plummeted to record lows with the media networks harping on in sound bites, excited sensationalism about trading drops not seen in 45 years of market analytics et al. Well, what most people seemingly don’t realise or understand about
film industry dynamics is that the film necessarily thrives during times of uncertainty. This can be seen throughout history, across countries and around the world. Do some deep research into what I am writing here and you will likely be surprised to find correlations that support my words! The British film industry has evolved and will continue to capture global market shares in the media industry, and I see this time as stimulating greater growth, as opposed to what the pundits and commentators are bleating along with those who see things differently.

Brexit Britain On Film BFI

Britain On Film Our Lives Our Stories www.bfi.org.uk

Here’s some background worth reciting to put current views in context. “The UK was not a signatory to the Treaty of Rome which created the EEC in 1957. The country subsequently applied to join the organization in 1963 and again in 1967, but both applications were vetoed by the then President of FranceCharles de Gaulle, ostensibly because “a number of aspects of Britain’s economy, from working practices to agriculture had made Britain incompatible with Europe and that Britain harbored a “deep-seated hostility” to any pan-European project. Once de Gaulle had relinquished the French presidency, the UK made a third application for membership, which was successful. On 1 January 1973 the United Kingdom joined the EEC, then often referred to in the UK as the “Common Market”. This was done under the Conservative Prime Minister Edward Heath. The opposition Labour Party, led by Harold Wilson, contested the October 1974 general election with a commitment to renegotiate Britain’s terms of membership of the EEC and then hold a referendum on whether to remain in the EEC on the new terms.”

Brexit British Film Soldiers On - Barry Lyndon 1975 Stanley Kubrick

A scene from “Barry Lyndon” 1975, directed by Stanley Kubrick

Now more than four decades on in 2016 the people of the UK have voted and the majority have chosen to leave the fold.

The EU and EEA (formerly known as EEC) have been weighed, measured and left wanting.

Brexit Wins Overall

British “Brexit” Referendum Final Results

The globalists,  corporate interests, banks and politicians that are are all screaming and moaning at the top of their lungs that the UK has absconded are behaving like chicks hatching out of cracked and spoiled boiled eggs. Many of those who have been gambling on this huge European casino economy are locked into the Euro currency; Britain is not.

In retrospect keeping the British Pound was a very smart move and whilst obviously it will be spinning fast and furiously on the roulette wheel of global currency markets for a while, the wheel will begin to slow and when it settles, the strength and growth prospects inherent in the British economy will begin to shine. Now that the UK has left the table, after having been previously drawn to the allure of bright lights and European delights at a time in British history when things looked a damn sight more appealing across the channel than the dire conditions in England that occurred in the aftermath of World War II.Brexit BFI Facebook on Billy Wilder

Britain was enticed down the old golden gilt garden path and as things became boggy and more recently progressively stagnant a modern economic quagmire of dissent and distrust emerged and flowed in the under currents of populations and opinions. The British people have decided to take their remaining chips, cash in at the borders and leave the building. If you’ve ever been into a casino, you will have noticed that they like to keep the light constant, day and night, to trick people and punters into staying on and gambling for longer; the EU bureaucratic empire operates as aqueously within its vast corridors of power, ever flowing, ever changing and most haven’t even noticed where the leakages are occurring.

Brexit The Movie is a full length British documentary film that provides some very interesting factual details, and well worth watching more than once.

The United Kingdom now stands to benefit immensely.

 

Building on new trends and timing with markets

Evidence suggests that the trends of US and EU companies pursuing strategic partnerships in Asia is increasing in 2016.

Brexit Pole - Interest Rates

Fiscal imbalances and floundering interest rates

Such trends are not exclusive to strategic decisions being made by corporations in the entertainment, media, and Hollywood talent agencies. The British Film Institute research provides great insights into how UK Film industry has been positioning for a more dynamic growth into new markets. A renewed focus on private equity and Family Office funding coupled with recent increased volatility in financial markets has spurred a swathe of mergers and acquisitions activity across the divide between East and West. Britain stands to benefit in this changing dynamic global shift we are in the midst of witnessing.

OTT and Streaming revenues growth accelerators

Activity and accelerated knowledge growth amongst Asian countries in the OTT and Premium OTT services sectors is driving increased competition for market share in four principle market angles:

  • Market enablers: the underlying market conditions for premium OTT offerings (e.g. population, broadband, devices, penetration, payment gateways)
  • OTT building blocks: the assets, capabilities, technologies and services required to develop and launch subscription OTT offerings (e.g. government regulation, censorship, languages, cultural specialties)
  • Consumer demand: awareness, interest, willingness to pay, serviceability to pay, payment options
  • The competitive environment between OTT services, pay-tv offerings (Netflix, iflix, et al)

Britain is poised strategically and the smart money and smart ideas are disruptive. I see Brexit as a smart move, contrary to the inference by general mass media reports that most of the voters were low income classes lacking in understanding. Smart companies are banking on future technologies that will change the way we do business around the world. Furthermore, Britain can now create new relationships more efficiently and operate without needing EU approvals, that are more complex and time consuming to get approved across the channel. Providing scalability as well as flexibility to explore expansion opportunities and build business relationships in ASEAN and India at an exciting time when these Asian regions are experiencing extraordinary changes is an opportunity for the taking.

Brexit BFI Into Film

BFI Into Film education programme

The British Film Industry stands to benefit immensely as it is well supported within the country by the BFI coupled with educational programmes such as Into Film and these can quickly and easily become interesting areas of growth for British film professionals showing their wares to countries with less established film industry mechanisms. Growth in the global media industry is vibrant and expanding. As Asia creates new forums, established British technology and experience in teaching and learning programs can be exported and provide assistance and services for Startups in countries experiencing strong growth. Focusing on new business avenues and matching these efficiently with cost effectively implementation of entertainment and media growth strategies is the key to sustainability; remaining adaptable to future changes is vital for survival.

Innovations and Cultural Specifics

Innovations in technology and rapid growth utilising enterprise software to enhance business efficiency coupled to growing mobile penetration is prevalent across ASEAN.

Brexit Mobile penetration demographics SE Asia

Mobile Communications Demographics in South East Asia

With large populations utilizing high-speed data services and ever-increasing access to mobile communications coupled with the proliferation of marketing and advertising censorship controls are the subject of Governments and populations wishing to monitor and filter content delivered over the Internet.

India’s super angel investors are predominantly focused on the media technology and innovation spaces and are keenly interested in developing strategic partnerships with growth stories that focus on expansion in Asia.

The UK film industry is not only going to benefit from what I see as being relatively short-term weakness in the British Pound currency, Britain will thrive as the English people build upon their long history and experiences of seeking out and discovering new lands, building and expanding. With Brexit Britain has begun a new era of British conquest but not of conquer; this time the prospects are for the country to prosper on new relationships with new partners, rather than empire building as it was during the days of the East India Company “formed to pursue trade with the East Indies but ended up trading mainly with the Indian subcontinent and Qing China.” The company rose to account for half of the world’s trade, particularly in basic commodities including cotton, silk, indigo dye, salt, saltpetre, tea and opium. The company also ruled the beginnings of the British Empire in India. This time Britain will be bringing AI, nano-technology and British Startups Technology to the world.

Thank you for taking the time to read my conjecture and opinions here. I look forward with positivism and optimism as the world begins to dance rather than march to a new tune.

This article is created and written by James With, spurred after reading the article by Stephen Follows dated June 26, 2016 copied here below.

***************************************************************

The full article by Stephen Follows is reprinted here for ease and efficiency with respect to views expressed by many film industry heavyweights and further juxtaposition.

How will Brexit affect the UK film industry?

How will Brexit affect the UK film industry?Last Thursday, 52% of the UK population voted for the UK to leave the European Union (EU).  I am going to avoid the political side of this conversation as it’s been covered well elsewhere.  I will also avoid sharing my own opinion on the matter as there are no shortage of people shouting off on one side or another.However, I thought I can add to the conversation by looking at the numbers for how the British and European film industries interact and how Brexit will affect the UK film industry.

How will Brexit affect the UK film industry?

It’s worth noting that a large part of the whole Brexit debate was taken up with discussing unknowns.  Neither side has a magic crystal ball and so it’s impossible to say for certain exactly what will happen in a post-EU UK.  However, some outcomes are almost automatic, in that if the UK stops paying into the EU then it can expect to stop receiving money out of the EU.  So, here is a rundown of the negative effects of Brexit to the UK film industry…

  1. MEDIA logoAn end to MEDIA / Creative Europe funding (certain).  Between 2007-13, the MEDIA scheme provided over €100 million towards various aspects of the UK film industry. The loss of this money is the biggest, clearest effect of Brexit and so I’ve addressed it in the section below.
  2. In the short-term, British / European co-productions will be harder (very likely). Official co-productions allow international film producers to work together to create a film which can gain state protections and tax benefits from multiple countries at the same time. In the immediate future, co-productions between British and European countries will become harder, due to the fall in the value of the Pound and the growing uncertainty.
  3. In the long-term, British / European co-productions may need new legislation (unclear).  Official co-productions are only possible between countries which have signed a treaty defining co-production rules. The UK currently has active treaties with Australia, Canada, China, India, Israel, Jamaica, Morocco, New Zealand, the Occupied Palestinian Territories, South Africa and the EU.  The EU treaty is called the European Convention on Cinematographic Co-Production and was signed in October 1992 in Strasbourg.  This European treaty is not exclusively for just EU members as it refers to its signatories as “member States and the other States Parties to the European Cultural Convention”.  The UK signed the original treaty as a member of the EU so conceivably it would need to sign up again as a “European non-member State”.  Interestingly, the UK already has a separate co-production agreement with France, signed in 1994, so British / French co-productions may not be affected by Brexit in the same way co-productions with other EU member states are.
  4. British content will be much less attractive to European broadcasters (almost certain). Some European countries have quotas on the amount of European content their exhibitors and broadcasters must show.  For example, the majority (i.e. minimum of 51%) of French entertainment broadcast transmission time must be taken up with programs of European origin.  Not only did this increase demand for native UK films and television shows but it also made UK / US co-productions more attractive.  For example, ‘The Night Manager’ was a £30 million co-production between the BBC and AMC, which also qualified as an EU production.  In a post-Brexit world, it is very unlikely that such products will be classed as ‘European’ and will therefore lose a large part of their value to European countries with such quotas.
  5. Increased complexities for international cast and crew (possible but unclear).  One of the features of a unified Europe is the free movement of people, goods and services.  New visa requirements and work permits could affect both British people filming in Europe and European people filming in the UK.  That said, the issue is a little more complicated than just ‘in or out’ of the EU. This passport and border controls are covered not by the EU but instead by the Schengen Agreement, and only 22 of the EU’s 28 member states are currently signed up (also, the UK and Ireland have certain opt-outs),  In addition, Iceland, Lichtenstein, Norway and Switzerland are members of the Schengen Area but not of the EU.  The basics of the free movement of people and services is also not simply an EU issue, but was instead established in the Treaty of Rome. So it’s not clear what would happen post-Brexit as new agreements will need to be reached in order to keep the free movement protections the film industry has enjoyed until now.
  6. Fewer UK films will be distributed in Europe (certain). EU funding has supported the export of UK film to Europe to a massive degree. In fact, between 2007-13, almost €45 million was spent to bring UK films to European cinema audiences.  Details of which films were supported follow in the next section.
  7. Blue is the warmest colourFewer international films will be distributed in the UK (certain, although the extent is unknown).  Between 2007-13, UK-based businesses received over €20 million in EU funding to support the release of European films in the UK.  In addition, if Brexit continues to cause a weak Pound then it becomes more expensive for UK distributors to acquire new content.  However, this will affect all UK distributors equally, so may only reduce the amount UK distributors can pay upfront (known as the Minumum Guarantee, or MG) rather than prevent distribution entirely.
  8. UK independent cinemas will lose income.  (certain, although the extent is unknown).  56 UK independent cinemas receive funding from the EU as part of the Europa Cinema scheme, which supports cinemas which commit an average of 67% of their programming to European films.  Between 2007-13, this averaged out to over €103,000 per cinema.
  9. The negative effect of uncertainty (very likely). The film industry is highly fickle and responds negatively towards uncertainty.  This is partly due to the large amounts of money at stake and the desire to reduce risks wherever possible.  Right now no-one is sure what effect Brexit will have on the UK film industry, and so it may seem a safer bet to wait this period of change out before investing in UK film productions.
  10. Loss of influence on European rules affecting UK content (certain but effects unknown). By leaving the EU, the UK will forfeit its right to influence EU policy towards film and television content.  This will most acutely be felt in the discussions around the proposed Single Digital Market, which aims to force distributors to treat the EU as one territory, rather than distributing films country-by-country as happens today.

Despite these negative effects, Brexit could be positive for the UK film industry in the following ways…

  1. several-pound-bills-new-british-20-pounds-moneyIt becomes cheaper to shoot in the UK (uncertain).  If the Pound continues to lose value (as it has since the Brexit voted was announced) then the UK becomes ever-cheaper for foreign productions to set up shop in the UK. This will have the biggest effect on Hollywood studios, who spend vast sums of money and whose green-screen epics can be shot almost anywhere in the world.   Between 2006-15, UK / USA studios films spent £7.7 billion in the UK, accounting for 68% of the money spent on UK films.
  2. The UK is free to change its tax rules (certain).  The current Film Tax Relief (FTR) scheme is very generous and offers producers a refund worth around a fifth of the money they spend on UK films in the UK.  As a member of the EU, the UK is bound by rules on State Aid and does not have a free hand to change government incentives and subsidies without EU approval. When the FTR first came in, it gave points for various elements being British, such as the cast, crew, languages used, etc.  However, EU rules have forced the UK to widen the criteria to favour all Europeans equally.  This means that it is now possible to have a film that qualifies as fully “Brtish” with an all-Italian crew, based on a Spanish story, told in German. Leaving the EU will remove these restrictions on UK film tax policy. This freedom will mostly benefit the unseen civil servants who draw up the actual tax laws, but this increased flexibility means that in theory our film incentives can be changed more often and be better tailored to the needs of the UK film industry.
  3. Avoid proposed new European rules on release patterns (certain freedom from a possible event). As discussed above, the Single Digital Market could mean that films need to be released in Europe as one territory all at once.  It’s not certain how the new rules will eventually be written, but if we’re out of the EU then we’re certainly not going to be part of it.  This will still affect British films exported to Europe but not films released in the UK.
  4. The UK can spend that saved money directly on UK film (extremely unclear).  In theory, the UK can use the money saved by not paying into the EU to directly replace the money and support that was lost by the lack of MEDIA funding.  It remains unclear if the government wishes to do this.

How much has the MEDIA budget benefitted the UK film industry?

MEDIA currently provides money to the UK film sector for training, development, co-productions, festivals and theatrical distribution.  Over a seven year period (2007-13), the EU provided over €100,000,000 towards various aspects of UK film industry.  This breaks down as follows…

  • MEDIA - Brexit affect the UK film industry€44,561,008 – Awards to European distributors to release UK films
  • €10,478,771 – Investment in UK TV broadcasting
  • €8,898,821 – Distribution of European films in the UK
  • €7,830,252 – Development – UK Slate funding
  • €6,939,604 – Development – UK Single projects
  • €5,810,965 – UK cinemas part of the Europa network
  • €4,910,314 – UK-based training
  • €2,975,703 – UK VoD platforms
  • €2,775,444 – UK-based film courses and schools
  • €2,013,688 – Development – UK Interactive works
  • €890,530 – Grants to UK sales agents who represent non-UK European films
  • €85,0718 – UK pilot release programs
  • €695,500 – European Day-and-Date pilots
  • €539,766 – i2i Audiovisual (plugging finance gaps in UK / European co-productions)
  • €100,171,084 – Total

As mentioned above, UK films have received a huge amount of EU funding for their releases around Europe.  These include…

  • Kings Speech in FrenchThe Iron Lady – €1,531,922 – 31 European territories
  • Slumdog Millionaire – €1,339,104 – 24 European territories
  • Quartet – €1,339,009 – 23 European territories
  • Looking For Eric – €1,297,031 – 26 European territories
  • Tamara Drewe – €1,239,843 – 22 European territories
  • The King’s Speech – €1,025,717 – 26 European territories
  • The Last Legion – €1,025,551 – 3 European territories
  • The Duchess – €954,012 – 19 European territories
  • Shame – €951,814 – 27 European territories
  • Another Year – €914,330 – 21 European territories
  • I Give It a Year – €892,867 – 29 European territories
  • Streetdance 3D – €891,644 – 17 European territories
  • Salmon Fishing in the Yemen – €882,124 – 27 European territories
  • The Secret of Moonacre – €814,964 – 5 European territories
  • Song for Marion – €787,987 – 15 European territories
  • Happy-Go-Lucky – €750,173 – 24 European territories
  • Hysteria – €748,066 – 25 European territories
  • Fish Tank – €737,813 – 29 European territories
  • Nowhere Boy – €708,871 – 8 European territories
  • The Angels’ Share – €699,286 – 27 European territories
  • A further €25,028,880 awarded to other UK films

Finally, it’s worth mentioning some of the European films that have reached UK cinema audiences in part because of EU funding. These include A Prophet, The Great Beauty, Gomorrah, I Am Love, Persepolis, Love is All You Need, The Class, Amour, Potiche, Waltz with Bashir, Heartbreaker, Of Gods and Men, Blue is the Warmest Colour, Pina, Two Days In Paris, The Counterfeiters, The White Ribbon, Melancholia, Antichrist and Molière.

What is the UK film industry’s opinion on Brexit?

It’s fair to say that the vast majority of people working in the UK film industry are firmly against the UK leaving the EU.  UK arts pressure group the Creative Industries Federation say that 96% of its members supported the Remain campaign and 84% said that EU membership was important to the future of their organisation.   A poll by Media Business Insight found that 66% of people working in the UK film industry felt that Brexit would have a negative impact on the sector.  A further 18.5% were uncertain on the outcome of Brexit, with only 11.5% believing that Brexit would be positive for the UK’s film industry.

So why are so many UK film professionals against Brexit?  This could be for a number of reasons…

  • Political values. The film industry is traditional a fairly liberal-minded industry and the liberal cause is largely pro-EU.
  • Geographical location.  The majority of UK film jobs are located in London and London was a hotbed of anti-Brexit sentiment (60% of London voters opted to Remain).
  • Age. The film industry has much lower age profile than the UK population, and polls have shown how the majority of those under 50 supported Remain while a majority of those over 50 supported Leave.
  • Fear of uncertainty.  The UK film industry is in a period of stable growth, thanks in large part to a stable government approach to film incentives.  Uncertainties in the future could scare off investors and studios from making investments in UK films.
  • The majority of predictable outcomes to the UK film industry are negative.  The list at the top of this article shows how the vast majority of expected Brexit outcomes are negative for UK film.

Here is a summary of press coverage on the issue…

  • Brexit game of ThronesScreen Daily says that the UK film and TV sectors are in “limbo” and that “the two sectors had recently expressed strong sentiment in favour of remaining in the European Union, which is the major trade partner of the UK and which provides millions of pounds in subsidies to the UK market as well as a number of frameworks for coproduction. That structure is now in serious doubt“.
  • Variety collected views from a number of major voices in UK film, summing them up by saying “British voters’ stunning decision to turn their backs on the European Union has left many of the country’s leading TV and film players reeling“.
  • The Guardian summed up the situation by saying that there would be “less cash, fewer movies” and also that “we could witness a 70s-style British film meltdown”.
  • The Hollywood Reporter led with “U.K. Producers Oppose Brexit”, pointing out that “James Bond producer Barbara Broccoli, veteran David Puttnam, Matthew Vaughn, The King’s Speech producer Iain Canning, Slumdog Millionaire’s Christian Colson and Aardman Animations are among those who outlined their reasons for why staying in the EU is the right call for those who want “to support our current, thriving creative industries.”“.
  • Broadcast magazine noted that shares in ITV dropped 19% within a day of the vote being announced, and the Sky share price also fell 8%.  Further drops were felt by eOne and Vivendi.
  • The Verge discussed the possible effect of Brexit on ‘Game of Thrones’, saying “US productions might feel the effect, too. Much of HBO’s Game of Thrones is filmed in Northern Ireland, for instance, partly supported by the European Regional Development Fund. HBO, however, says it doesn’t anticipate any financial impact on GoT, since the network took no money from the ERDF for the last few seasons, according to Entertainment Weekly“.
  • And the Radio Times pointed out one aspect of Brexit too many experts have overlooked by noting “The shock Brexit result will have massive ramifications – not least the fact that we may see less of beautiful French actress Clémence Poésy on TV“.

A number of top UK film voices have shared their views and I could fill an entire article with them.  However, for the sake of brevity, here are five which seem to sum up the mood…

  • Harvey WeisteinHarvey Weinstein said “I’m shocked… These guys who voted, voted out of fear. It’s a huge mistake… It could be very costly in the movie and TV industry in terms of content branding. European branding is very important. It’s a big deal for these young British filmmakers”.
  • Michael Ryan, Chairman of the Independent Film & Television Alliancesaid The decision to exit the European Union is a major blow to the UK film and TV industry. Producing films and television programs is a very expensive and very risky business and certainty about the rules affecting the business is a must. This decision has just blown up our foundation — as of today, we no longer know how our relationships with co-producers, financiers and distributors will work, whether new taxes will be dropped on our activities in the rest of Europe or how production financing is going to be raised without any input from European funding agencies. The UK creative sector has been a strong and vibrant contributor to the economy — this is likely to be devastating for us”.
  • Danny Perkinshead of Studiocanal UK said “Short term it’s bad news for the currency and terrible news for film acquisitions, which are normally done in dollars or euros. UK companies will suffer in the short term“.
  • Rebecca O’Brien of Sixteen Films said “It has blown us out of the water. We are very dependent on our relations with Europe. All of our films for the last 20 or 25 years have been co-productions with Europe. It (Brexit) doesn’t mean they will stop immediately but it means that trade, and access and all those things are much more difficult. It just means we have to re-invent the wheel again“.
  • Jeremy Thomas of the Recorded Picture Company quoted Charles Bukowski by saying that “the problem with the world is that the intelligent people are full of doubts, while the stupid ones are full of confidence“.  Mr Thomas added “For the film industry, it is a disaster“.

So what now?

BrexitSo many of the effects of Brexit are unknown.  Right now, the only thing that has happened is that a non-binding referendum was marginally won by the pro-Brexit movement.  There’s no doubt that the majority of the UK film industry hopes that Brexit doesn’t happen.  Failing that, the film industry is likely to seek the following outcomes from the government…

  • A deal to retain co-production advantages with EU countries.  Most likely this means ensuring that the UK remains signed up to European Convention on Cinematographic Co-Production.
  • An agreement to classify UK content as “European” in relation to production and distribution quotas.  This is a harder task than the co-production deal, although it should be noted that Switzerland has already achieved this for their content.
  • Replacement funding be provided for current MEDIA-funded activities.  A major claim of the Leave campaign was that the UK would save £350 million a week by leaving the EU.  It turns out that once you take into account the UK’s rebate the real saving is far lower, but even taking that into account, the money saved by leaving the EU could be used to replace the funding currently provided by MEDIA.
  • Action to be taken swiftly and confidently.  A protracted and messy exit will create a large amount of uncertainty and stifle investment in UK film.

Epilogue

Sorry if you were expecting to be able to read my final article in my series on film locations today.  I have had a number of people ask me about how Brexit will affect the film industry so I bumped the film locations article to next week.  Stay tuned…

 

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JW Blog Thailand Production Incentives

#‎Thailand‬’s government has approved a ‪#‎Film‬ ‪#‎Production‬ ‪#‎rebate‬ for international ‪#‎productions‬ that spend at least $1.5m in the Kingdom. Thailand has finally secured government approval for production incentives in the form of a 15-20% cash rebate on qualifying local spend.

Expected to kick in from January 2017, the incentive offers a 15% rebate on international productions that spend at least $1.5m in the country, with a yet-to-be determined upper limit to prevent a single big-budget production from emptying the pot. An additional 3% is available for films that use key Thai cast or crew when shooting in the country and a further 2% for films that have particular value in promoting Thailand.

Reference: http://www.screendaily.com/festivals/cannes/thailand-launches-20-production-incentive/5103910.article

20160514 Thailand Launches 20 percent production rebate - ScreenDaily

Discussions for Thailand to introduce a film production incentive have been heard for over two decades and local film industry professionals see this as a great positive for the film industry in Thailand and ASEAN as a whole. With the more business opportunities and activities focused on trading partnership across the AEC, Thailand’s production hub status will be further strengthened by the implementation of this vital entertainment industry support at a time when Asian appetites for entrepreneurship, fintech, startup technology and OTT are heating up.

When one compares jurisdictions the Thailand film production industry incentives set to take effect in 2017 will weigh in heavily on other countries offering similar production incentives to attract filmmakers, not only in ASEAN, but also throughout the world. This is largely because the costs of production are significantly lower in Thailand than other countries and with rebates being offered in the range of 15%-20% being available, Thailand will rank high on the list of destinations for producers.

EP Financial Solutions

EP Financial Solutions

The development of movie production incentives stems from the perceived economic benefits of filmmaking and television production in the US. In 2010 revenues from television production in the US were estimated at $30.8 billion[1] while revenues from movie and video production in the US were estimated at $29.7 billion in the same year.[2]

As the TV and film industries around the world grew through the 1990s, so did concern over runaway productionsTV shows and films that are intended for a US audience but are filmed in other countries in order to reduce production costs. The issue of runaway productions gained further traction after Canada adopted a movie production incentive program in 1997.

In the 21st century Asia has emerged as a leading growth area for film financing with Asia, China and India increasingly being used by Hollywood producers and major studios as a necessary part of their global strategies.

Building on new trends and timing with markets

Evidence suggests that the trends of US and EU companies pursuing strategic partnerships in Asia is increasing in 2016. Such trends are not exclusive to strategic decisions being made by corporations in the entertainment, media, and Hollywood talent agencies. A renewed focus on private equity and Family Office funding coupled with recent increased volatility in financial markets has spurred a swathe of mergers and acquisitions activity across the divide between East and West.

Innovations and Cultural Specifics

Innovations in technology and rapid growth in the utilisation of enterprise software to enhance business efficiency are coupled to growing mobile penetration prevalent across ASEAN. With large populations utilising high-speed data services and ever-increasing access to mobile communications, the proliferation of marketing and advertising censorship controls under scrutiny, Governments and populations wishing to monitor and filter content delivered over the Internet are all key indicators to watch.

Mobile penetration demographics SE Asia - South Korea

India’s super angel investors are predominantly focused on the media technology and innovation spaces and are keenly interested in developing strategic partnerships with growth stories that focus on expansion in Asia.

For more information on filming in Thailand information is available from the Thailand Film Office. 
Telephone: + 66 2612 4149 +66 2219 4010 Ext. 634 or 463
Email: film@thailandfilmoffice.org URL: Thailandfilmoffice.org

About the author: James With
First published on Monday, 16th May 2016

The Shlepp Entertainment / TRI-US Entertainment team has been working hard on developing WWW.FEARCHASER.COM

and the news has leaked out … Read more on what they’ve been up to at Is Ayi Jihu’s Fearchaser™ film the next big thing?

Stay tuned for more…

AYI JIHU – Fear Chaser Star Fights Fear, Trafficking & Exploitation!

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hollywood it guy Eric Zuley
Chinese star Ayi Jihu a face that reaches a billion people

The long awaited Ayi Jihu single has finally arrived. The artist referred to as ‘The Chinese Madonna’ has not released a new track for almost a year concentrating and her philanthropic endeavors and her FearChaser® film. Ayi fans have been waiting a long time to see what this trailblazing artist would do next.

It just would not be Ayi Jihu or Shlepp Entertainment if they did anything anyone expected them to do now would it, and once again they stay true to their history and surprise as all again. Not that we should be surprised from a Chinese artist that coins a sentence no other international Chinese artist can right now, ‘Independent, Real Chinese and crossing over’. An artist that has broken the rules and made her own path from day one.

Before we get to the music we wanted to catch up with Ayi about what she has being…

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SHLEPP ENTERTAINMENT
TRI-US ENTERTAINMENT LOGO

About Global News Ink.

Global News provides stories, blogs, information and insight on entertainment news from around the world predominantly focusing on Shlepp Entertainment Ltd Media, Artists, News and projects as well as Asian news.

Shlepp Entertainment Ltd is a small, but global, Entertainment Company that continues to diversify as a result of the entertainment markets demands.

Originating solely as a production company, Shlepp was originally founded by Stevie Eagle E and Peter Doc Bielig (Doc B) who were known as EEDB, as well as Stevie E and the NAN respectively. Both Stevie Eagle E and Doc B had successful careers in the music industry independently before they came together, but as a team they excelled both as an act and in writing and production.

Now exclusively owned and led by Stevie Eagle E, Shlepp Entertainment Ltd has expanded to movie, animation, photography, web design, and artist development. Its reputation, combined with a foundation of 30 years of success, makes it a coveted entity in the entertainment industry.

Shlepp Entertainment Ltd is a global company with strong connections in the Asian market. Shlepps Chinese artist, Ayi Jihu, fundamentally changed the way Shlepp Entertainment worked. The focus of Shlepp is to create an opportunity for talented artists to cross over from the Eastern to Western world, and in turn, become an international force. Shlepp’s work with Ayi Jihu has surpassed all others in this area and has successfully established her as the first cross over Chinese R&B Pop artist and icon in history.

Shlepp concentrates on building responsible social icons in a selective, unique way that other labels have not considered. This includes creating association with various philanthropic opportunities upon introduction; in other words, paying it forward is not an afterthought. This has been the model in developing Ayi Jihu. This concept has created a rewarding approach to traditional icon status.

Coinciding with the release of her latest single “It’s Magic”, Ayi Jihu has recently been appointed as an Ambassador for SISHA (South East Asia Investigations into Social and Humanitarian Activities). SISHA is a registered Australian not-for-profit organisation that strives to ensure justice and the protection of human rights for victims of human trafficking, bonded labour, physical and sexual assault and other forms of exploitation and oppression in South East Asia. SISHA is a non-religious, non-partisan and non-governmental organisation.
AYI JIHU SISHA AMBASSADOR

Shlepp Entertainment & TRI-US Entertainment have joined together in creating, developing & producing the Ayi Jihu Fear Chaser Chronicles, a franchise property developed and initiated from Ayi’s own life story, in an epic battle between Hope and Fear … One girl holds the key to victory!

For more information:
Shlepp Entertainment http://www.Shlepp-Entertainments.com
TRI-US Entertainment http://www.TRI-USentertainment.com
FEAR CHASER CHRONICLES http://www.FearChaser.com

AYI JIHU FEARCHASER® JOINS THE FIGHT AGAINST HUMAN TRAFFICKING AS NEW SISHA GLOBAL AMBASSADOR.

March 26, 2013
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Chinese Star Ayi Jihu announced as SISHA Ambassador

Chinese Star Ayi Jihu announced as SISHA Ambassador

Fresh on the heels of the pre-release of her latest single It’s Magic (due out April 1st 2013) which is all about love. Ayi Jihu seems to be putting her money where her Fear Chasing mouth is as she is announced as an Ambassador for Anti Human Trafficking and Exploitation Organization SISHA

Seasoned Ayi watchers will not be surprised to hear Ayi is representing another Charitable organization but even they will recognize that Ayi Jihu representing SISHA is a little bit more. SISHA is a very hard hitting and proactive organization at the Sharp end of Human trafficking and Exploitation in Asia. This is not a ‘Walk in the park’ or an easy assignment. This is real FearChaser® stuff.
SISHA raids & rescues

Steve Morrish CEO and Founder of SISHA Said. “We are so excited to welcome Ayi Jihu as our new SISHA Ambassador. Working with Ayi, who is incredibly talented and tapped into Asian audiences, is a great honor. Using the artists and collaborating with artists who are passionate about stopping human trafficking in Asia is key in the fight to end modern-day slavery and other types of exploitation.”

Fighting against exploitation

Ayi Jihu who is already a Woman of Action Ambassador representing A celebration of Women foundation inc, as Well as an Ambassador for Federal Association for the Advancement of Visible Minorities (FAAVM) and a Partnership for Peace (AP4P) is up for the Challenge and told us: “This is something I really want to get my teeth into. I have been talking to Steve Morrish and his team for some time about this, but did not want to get involved until I felt I could really make a difference. SISHA get their hands dirty and deal with some of the most tragic stories and situations everyday. I want to help. I am passionate about SISHA and what they do. I will do my best to shine a light on SISHA and what it does and help raise funds if I can.”
AYI JIHU SISHA AMBASSADOR

Chinese Star Ayi Jihu new SISHA Ambassador

If Anyone can do it Ayi Can; Ayi Jihu has a knack of turning heads and we are sure she will do the same for SISHA. We wish her the best of luck.

To find out more about SISHA and what they do visit their official website http://www.SISHA.org

James With RAMBO

RAMBO - James With Sylvester Stallone


As RAMBO opens on atrocities of exploitation… introductory text fills the screen… “THE STRUGGLE BETWEEN THE KAREN FREEDOM FIGHTERS AND THE RULING BURMESE ARMY IS THE LONGEST RUNNING CIVIL WAR IN HISTORY“… and as I write this today it is still on-going

This is a struggle that is very real… Living and working in Asia, I see the constant persecution and exploitation that goes on … We must continue to fight against human trafficking and exploitation … the intensity that Sylvester Stallone puts into his RAMBO character, and in making every effort to draw awareness to this very real plight is something we must take on board… we must put our energy into the things that matter… the issues that need focus… and in doing so create a better world for all … this is precisely the meaning behind the RAMBO franchise of movies.

Although the Preacher Missionary character I played in RAMBO gets blown up at a pivotal point when the Burmese Army attacks innocent Karen Hill Tribe villagers, the words of the Preacher taken from Ephesians 3:16-19 resound eternally…

“…Out of the glorious riches he may
strengthen you with power through his
spirit in your inner being, so that
Christ may dwell in your hearts through
faith, and I pray that you, may have
power together with all the saints…”

Producing any media product requires investment funding. Merchandising is vitally important in the funding model of any celebrity or media project. Sylvester Stallone recently launched RAMBO inspired clothing and there is no doubt in my mind that this fashion line will enable Sly to continue to put his best foot forward… his long career presents a man of passion, sincerity and belief in doing the right thing for the right reasons.

JW is Watching You!

The distraught father character of Bryan played by Liam Neeson in Taken left us with a lasting impression of how vulnerable women are to being entrapped and sold into human trafficking. A memorable quote from the film sums up the feelings of rage and anger that goes through those who have direct experiences of this horrible trade: I don’t know who you are. I don’t know what you want. If you are looking for ransom, I can tell you I don’t have money. But what I do have are a very particular set of skills; skills I have acquired over a very long career. Skills that make me a nightmare for people like you. If you let my daughter go now, that’ll be the end of it. I will not look for you, I will not pursue you. But if you don’t, I will look for you, I will find you, and I will kill you.

Unfortunately, the reality of this crime against humanity is far less sensational, and affects millions of men, women and children all over the globe. The Federal Bureau of Investigation website gives some important reference links and highlights the fact that human trafficking is prevalent in the USA.

stop-human-trafficking

Human trafficking is prevalent across economic sectors

As a member of the Advisory Board for SISHA (South East Asia Investigations into Social and Humanitarian Activities) my focus is to raise awareness of the need to donate and support the efforts of Executive Director, Steve Morrish and the dedicated team on the ground in Cambodia and Thailand.

SISHA is a registered Australian not-for-profit organisation that strives to ensure justice and the protection of human rights for victims of human trafficking, bonded labour, physical and sexual assault and other forms of exploitation and oppression in South East Asia. SISHA is a non-religious, non-partisan and non-governmental organization.

You can follow SISHA on Twitter and visit the SISHA website to find out more about the great work that is being done on the front lines in the fight against human trafficking and exploitation.

Kevin Powell

Open Letters to Amercia

How does one get a message out these days? … one of the many comments on Kevin Powell’s Open Letter to Chris Brown dated March 24, 2011 at 12:30 am, said “I just want to say, I hope you actually do meet him and talk to him. Because from what I understand of young people today, he isn’t reading anything longer than four lines.”

At over four full pages… this letter is considered and written from the heart… and is not only a cry out to twitterers, bloggers, and a society that feels uncomfortable with reading more than a few lines on a PDA … nor is it directed exclusively at Chris Brown, young rappers or famous celebrities who are having difficulties coping with media attention… it is an eloquent essay depicting the state of American society, which one might add, is not a societal trait peculiar exclusively to the USA!

The media, and those working in it have a responsibility to keep writing, filming and broadcasting widely… and throughout all of humanity… “The Truth Shall Set You Free”.

2010.02.13-P1020682

James With presented a seminar of “3D” (stereographic) film making in Bangkok, at the inaugural TEDx conference in Thailand.
“PROCLAIM LIBERTY THROUGHOUT ALL THE LAND UNTO ALL THE INHABITANTS THEREOF” Liberty Bell

More about TED: Ideas worth spreading


@TED Hans Rosling: Asia’s rise – how and when
Wikipedia reference: TED (Technology Entertainment and Design)


@TED Clifford Stoll: 18 minutes with an agile mind