Marissa Román Griffith, Christopher Maddox Pen Article on Shifting Global Film Financing Market
The article discusses how these changes, specifically, the decline of pre-sales, have moved producers to rely more heavily on international co-production arrangements for funding. As a consequence, the authors write, filmmakers now feel the need to “create content that can appeal to a global audience,” an impulse frustrated by the elusiveness of a formula for finding global, cross-cultural success.
The authors lay out the issues accompanying the decline of pre-sales—a model that “is currently less effective than it was during the peak of the home video market”—then discuss international co-production arrangements, both formal and informal, as well as issues with co-productions (using recent China-U.S. co-production—and money-loser—The Great Wall as an example).
They conclude by noting that, with the decline of pre-sales and the absence of a clear path to global appeal, “co-producers must be cognizant of their partners’ creative expertise and the cultural nuances of the varying locales. Despite their issues, international co-production arrangements offer producers a strategy to obtain necessary funding, access creative talent from across the world and create opportunities to produce great films.”