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MAY 14 - 25, 2019

2018 coverage on the FESTIVAL  / MARKET Sample of newsletters

ARCHIVES Cannes Market 2017 coverage  Cannes festival 2017 coverage I Video gallery I Image gallery I 
Conference Future of Cinema in Cannes I PROMOTE YOUR FILM I VIDEO SERVICES IN CANNES has become the number 1 online media on cannes with 606 articles published last year for the 71th edition. 10 newsletters reaching close to 2 M film professionals...


Interview with president of IPA Asia Pacific, Bob Jones, re: 66th Cannes Film Festival / Market.



 'Blood Ties' (2013)

 'The Immigrant' (2013)

At the Cannes film market during the 66th Cannes Film Festival, I thought it would be interesting to interview an international buyer from one of the hottest (and rapidly transforming) international territories; Asia.

While running to a meeting to see the famous Bob Jones (president of IPA Asia Pacific), I was stopped by two sales agents and asked to attend a lunch with them. I said I couldn’t as I was already running late for an important meeting with ‘Bob’. Immediately they knew who he was, as if there is only one ‘Bob’ in the biz. After all, at the scene of the international marketplace for films, TV and media, Mr. Bob Jones is a superstar. Among the many titles Bob has bought for Asian territories in the past few years, some include: ‘Melancholia’ (2011), ‘The Artist’ (2011), ‘Silver Linings Playbook’ (2012), ‘On the Road’ (2012), ‘The Company You Keep’ (2012), ‘The Call’ (2013), ‘Blood Ties’ (2013), ‘The Immigrant’ (2013).


Read below my interview with film, TV, media buyer ‘Bob Jones’ (IPA Asia Pacific) after the 66th Cannes Film Festival / Market.


ME: In your opinion, what are the strongest purchasing power territories in Asia at the moment?

BOB: Japan is coming back step-by-step, but it’s nothing like it was in the mid 1980's. Video is slowing down and Art House is getting tougher. China is picking and places like the Philippines and Indonesia will have a lot of growth in the next two years.

ME: How has this Cannes market changed to past ones?

BOB: Markets change but too many sales companies need consolidation for the market to grow. The only people making the real money at shows are the show promoters for Reed Midem, Cannes, AFM and the Nigerian's selling umbrellas and sunglasses outside the Convention Hall in Cannes. Let’s face it, how do we cut six shows down to three to cut overhead? How do we buy more using better online tools? The shows are just getting more expensive no matter how you decided to travel or where you stay in Cannes. Re: hotels in Cannes…For those folks that travel, Cannes is very sad because from the service to the rooms most of the hotels are just too old and beat up. After a while, you need a few decent hotels to attract buyers that spend over a $ Million a show. It’s just sad they don't get it. Shall we move the market to Hawaii anyone, or even Vegas or Asia??? We as buyers are ready to move to a new location for MipCom any day. Since Reed Midem thinks €1,400 for a badge is just ok…Really??...And €600 a night for a 1980's hotel! It’s amazing! …Who are they kidding? I feel more sorry for the sellers that pay top dollar for staff and booths in Cannes. Shame on Reed Midem for getting away with this rip-off!

ME: Is film a dead biz or is it just going through changes and bracing the impact?

BOB: Not ‘dead’ but the business is growing. Everyone is chasing the same eyeballs. We have more and more choices as buyers of content. Users as well are exploring these choices with each new service or new channels that pop up. It’s amazing all the good stuff is being swept up from Vietnam to Australia. And the product that's not commercial is being left behind. You have more and more sales companies all chasing the same dollars and the remaining players in a select market place or channels that have the financial wherewithal to pay and release the product through their existing piping. You have more and more sellers trying to package and pre-sale to get stuff made. So, yes, it’s getting tougher since the banks are finally demanding transparency after all the funny money (i.e. hedge-funds, tax shelters, etc.) have left the business for the funding. Money is not cheap for pre-production on so-so projects so buyers are saying, “Ok, you make it but it better have a star in it, a start date, a confirmed delivery date, and better yet a domestic USA release or a major European network behind it or were not touching it.” You know it’s tougher when France, the UK and Germany are all paying 30% less this year and TV networks are saying: “If it doesn't play theatrically, we don't want it, so don't buy unless you can release it theatrically.”

ME: What are the most popular trends at the moment in terms of genre and packages?

BOB: More series, bigger theatrical titles, less horror, more classic remakes. It all comes down to the story, the script and the fresh concept you’re selling.

ME: What does the future market place look like to you?

BOB: Change or Die!!! …But it is very bright for the folks that embrace a better way of selling to a larger group of more seasoned buyers. How to do more online to hit a bigger focus group of buyers, and show promoters need to be more sensitive to buyers’ needs, as since the last few years it’s all about services for sellers and not buyers. Vegas has the right approach- you go to gamble and they comp you. They roll out the red carpet for you. There’s nothing wrong about taking care of the people that spend money, yet every market it gets tougher and tougher on buyers! Why? When was the last time a show offered buyers incentives? It’s tough just getting a decent hotel in Cannes, with a real mini bar and coffee service in the morning. Really…€100 for a pot of coffee and three danish? €1,400 for a badge, €100 for fifteen minute taxi ride from the airport to Cannes. Who are they kidding?


Interview by Vanessa McMahon.



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