160 Chapter 160 Night at Cannes (seeking subscription recommendation) (1/2)

After the awards, the organizer held a party as usual.

Just like the Oscars to the Vanity Fair dinner, Cannes, the sponsor is not so big, the name is also very simple, called Cannes Night.

All the filmmakers who were still participating in the competition for the grand prize came to a beach and sand again, and this was the venue they provided.

Not to mention, although the open air, the atmosphere is more relaxed and leisurely.

Lehman didn't want to attend, after all, hasn't enough of this kind of party?

I just find it troublesome to make contact with people, and this party is not qualified at all.

But when George heard that a Chinese film dealer wanted to find him and discuss something with him, Lehman agreed to come.

......

The Cannes Film Festival has always had a close relationship with the Chinese film circle, whether it is private or official.

The folks have mentioned it before, so I won’t repeat them here, just talk about official cooperation.

As we all know, China has always had the task of buying out or sharing foreign movies.

Since the end of the 1970s, China Film has been mainly responsible for import matters. Of course, Shanghai Huaxia also has the qualifications to import, but he is usually a little brother, so I won’t talk about it here.

In the beginning, China relied on buying out copyrights for distribution. For example, in 1939, the former Soviet film ”Lenin in 1918” was the first to buy out copyright. It was not until 1994 that the first Hollywood blockbuster film ”Destiny” was introduced in a box office split ”End of the World” changed this pattern. It could be regarded as opening up the rather closed film market in mainland China at that time, and also marking the formal entry of the Chinese film market into the quota system for imported ”blockbuster movies”.

This so-called quota system refers to the movie import quota system implemented by China-theoretically, the number of imported films that can be shown in theaters nationwide each year is about 64, including sub-ledger films, buy-out films, and some co-production films. The total number.(Ps: The self-produced films in Hong Kong, Macao and Taiwan are also called imported films in the strict sense, but they do not occupy the quota.)

In China, only China Film is able to introduce ”sub-account films”. China Film Distribution Co., Ltd. is not eligible, but can participate in the distribution with the cinema.

So, what does this ”segment of accounts” mean?

In fact, it's quite simple, that is, the film copyright owner does not sell the distribution copyright, and entrusts the local organization to distribute it on its behalf, and negotiates the share ratio in advance, and settles the share based on the film's local box office profits.The quota is set at 20 per year.(Ps: This number was still ten per year from 1994 to 2000. After joining the WTO in 2001, it increased to 20 per year. In 2012, China and the United States re-reached the memorandum of understanding on related issues and added 3D and IMAX. There are 14 movies per year.)

And these 20 accounts include 14 US-produced films and 6 other international or regional films.

Generally speaking, it is for some kind of balance.

As for looking for Lehman, it is also the buying team from China Film Group who came to Cannes this time.

Their task is very simple. They are to find some films suitable for importing from China at the Cannes Film Festival, and then return to China to arrange screenings. This is also the form of work they do every year.

In addition to the purpose of profit, more emphasis is placed on cultural strategy considerations.