site francophone sur le cinéma d'animation
http://fousdanim.com/forum/
Posté: Ven Fév 05, 2010 9:10 am
Posté: Ven Fév 05, 2010 9:34 amPosté: Ven Fév 05, 2010 5:33 pmPosté: Sam Fév 06, 2010 12:46 amPosté: Sam Fév 06, 2010 12:54 amPosté: Sam Fév 06, 2010 2:47 amTVPaint a écrit:=)
J'espère que le film sera bien accueilli en Belgique, ça remonterait le moral de notre cher Paul ^^
Posté: Sam Fév 06, 2010 9:15 amPosté: Sam Fév 06, 2010 10:41 amTVPaint a écrit:=)
J'espère que le film sera bien accueilli en Belgique, ça remonterait le moral de notre cher Paul ^^
Posté: Sam Fév 06, 2010 9:37 pmcontent de voir qu'il y a un petit clan de fans par ici !kachoudas a écrit:Ce film ne marche pas du tout ? il a fait d'autres festivals ? un succès d'estime au moins ?
Ca m'intéresse d'en savoir plus....
J'ai beaucoup aimé ce film et sa sensibilité... sans espérer qu'il fasse une grande carrière, j'espérais qu'il ait au moins un succès à la hauteur de ses moyens : petits en quantité, grands en qualité.
Paul Fierlinger a écrit:I have nothing to do with the selling and distribution of the film, which is not mine -- except that I have moneys coming to me once it does get into distribution. The problem is that no one is buying these days. Our greatest success was to be an official selection at the Toronto festival, which is now considered more important than Cannes and we have been selected for Pusan. Distributors are said to come to these two festivals with open checkbooks because almost all films selected are of distribution quality -- not anymore.
Only one film was bought at Toronto and even that went with little or no commitments on the distributor's part and no pre-buy. The problem seems to be piracy. If the film doesn't hold the promise of becoming a blockbuster, which makes zillions in it's first week, buyers are reluctant to reach into their pockets. Most independents have to resort to self-distribution and many Hollywood productions are beginning to do the same.
Digital technology and the Internet have contributed to the ease of making movies but also to the ease of pirating them. It has become a dilemma; a large amount of very good movies for niche markets are now being made, which many had commented upon at Ottawa and Toronto. These are creations of artists with talent and intelligent sensitivities who would never before find producers to support their screenplays because each film cost lots of money. But now good films can be made for much less but now no one is buying them because each one is made for a select audience.
Don't you just hate thieves, including those who buy cracked software, which inhibits the faster development of upgrades and technology in general? How can I be optimistic when presented with this picture? I never had to think of such things before; I thought I have nothing to worry about because who's going to pirate Tulip? I never made the connection that pirates have destroyed the entire distribution network for everyone.
Paul Fierlinger a écrit:... I just got an e-mail from my producer saying that he's dropping it. He promises that Tulip will be in distribution in April.
Paul Fierlinger a écrit:According to our producer there have been plenty of offers but none realistic enough to be worthy of consideration. I don't know enough about this end of our business to be qualified to have an opinion. I do believe that he will in the end succeed though -- he has the energy and is too persistent to give up -- it's just taking more time than he had expected.
Paul Fierlinger a écrit:What my producer really needs to find out (and he's working on it) is how to get all the dog owners in the world to know that there is such a film called My Dog Tulip and can be bought on DVD (or seen in a theater nearby to take pre-orders)etc. All this peddling is realistic but with little money to spend on advertising is a horrendous task. Just ask Plympton. This is what the distributors who showed interest in Tulip mostly offered, with no commitment to the amount of money they intend to spend on marketing and not even offering a marketing plan.
Paul Fierlinger a écrit:... I am perfectly content with what we got paid for Tulip as long as we can get the next one going and get paid the same way. We got the next one going only on a promise that the money will appear soon, soon, very soon, just in days, perhaps before the week is over... In the mean time backers of Tulip must be paid first when the money starts coming in--with a 60% profit. The producers, the book owners and the accountants and lawyers must be paid their promised deferred payments first ... The stars must be paid first too and let's not forget that we need stars in animated features based on famous (expensive) books to get them noticed by the press and picked up by the distributors --- and the film MUST have 35 mm filmmout to "look professional" otherwise no one will buy it! Must be in Dolby surround sound, otherwise no one will buy it. oops! Something isn't panning out here. What happened to these fantasies that purportedly guarantee distribution? The sum of these "must haves" far exceeds the cost of our own labor and overhead. Right now, it seems to look as if these "must have or else won't sell" expenses are exactly what is hindering Tulip from being picked up.
If the producer's defacto complaint is that none of the distributors interested in Tulip offered a reasonable amount of money, would it not be possible that we would be well covered with the amount they are prepared to offer if had we made a film based on a public domain book, which I could make work using just my voice and considered the film done when it's on digital tape, something we can do in-house with no outside expenses... in other words, Slocum. Lot's to think about. We have way over 10 minutes in the can already....only 70 to go.
Paul Fierlinger a écrit:No secret, au contraire, I don't mind sharing with other animators the real travails of the animated life cycles. There are never any guarantees in life. We never reached the point of signing a contract, since we had a complete understanding of what our mutual obligations should be. As Norman on several occasions put it, I can absolutely depend on his word that Slocum will get funded, so why bother rushing onto paper a solemn promise until concrete dates become clear? The fact is that he might still fulfill his promise; our minds are not completely closed to each other. I just think that I might have a better chance to get just as good or even a better deal elsewhere. Finishing the film under our own production isn't such a bad deal either and actually pretty appealing to me right now.Fabrice a écrit: Back to Slocum, did you had any kind of contract linking you with your producer ? (don't answer if it's a secret)
Paul Fierlinger a écrit:I have an update on the distribution of Tulip which is of course both good and less good news. The good part is that Tulip has been picked up by Apparition, a fairly new and important distributor out of NYC specializing in independent films for the U.S. market. They take on only about 7 films a year and have a solid reputation for being among the best, so this means a lot to us.
The less good part is that they won't release Tulip until September, giving the reason that they have other films in their pipeline to which they have to pay all their current attention and they also claim that the fall season is the best for the release of animated features, giving a list of all the other successful releases, starting with the Triplets of Belleville etc. (I can't remember any of the rest even though I just got the news ten minutes ago). Another reason is that they need a lot of time to plan and research marketing strategies since they also have the home DVD , direct TV, Pay per View and other venues, and want to specifically target dog lovers; a large but very spread out niche segment of the population. They are committed to matching the production budget in their marketing expenditures.
So there we are -- a theatrical release in just two years after the completion of the film; about the average for indie films, so I've been told thus I'm happy.
Paul Fierlinger a écrit:I'm sorry, but I don't have a clue anymore about what's going on with that film. The producer has given me too often misleading information and too many trick answers to my simple, straightforward questions and I've completely lost interest in the subject. It's a sleazy business is all I can say and have no taste for delving into it any further. If I told you everything I've been told by the producer you would think I'm talking about four or five different films, the information he dishes out is that contradictory. But thank you for your interest -- if you ever pass through Philadelphia, let me know and I'll give you a private screening.
Posté: Dim Fév 07, 2010 3:37 am"According to our producer there have been plenty of offers but none realistic enough to be worthy of consideration."
What happened to these fantasies that purportedly guarantee distribution? The sum of these "must haves" far exceeds the cost of our own labor and overhead. Right now, it seems to look as if these "must have or else won't sell" expenses are exactly what is hindering Tulip from being picked up.
Posté: Lun Fév 08, 2010 7:17 amPosté: Lun Fév 08, 2010 10:59 am