Intertainment - Die Zukunft ist da! - 500 Beiträge pro Seite

[SeroZ]

Hallo!

Nachdem wir in vielen threads über die Zukunft Intertainments hin und her geredet haben, möchte ich diesen thread nutzen, um Fakten und Prognosen für die Zukunft aufzustellen!

Meiner Meinung sieht es hier nicht schlecht für Intertainment aus!

Wichtigstes Kapital sind und bleiben nun mal die Filme! Und hier kommen im nächsten Jahr einige Highlights auf uns zu:

"THE PLEDGE" Sean Penn and Jack Nicholson, who helmed and starred, respectively, in 1995`s "The Crossing Guard," will re-team for this 1950s-set crime drama based on a novel by Friedrich Durrenmatt. (Warner Bros.)


"3,000 MILES TO GRACELAND" Kevin Costner ("For Love of the Game") and Kurt Russell ("Soldier") will star in this film about a gang of ex-cons who rob a Vegas casino during an Elvis convention. (Distribution is to be set)

"CHAMPS" Sylvester Stallone ("CopLand") will play a coach to a young race car driver ("Remember the Titans`" Kip Pardue) who must compete against the reigning champ ("SLC Punk`s" Til Schweiger) in this Renny Harlin ("Deep Blue Sea")-helmed actioner. (Distribution is to be set)


"THINGS YOU CAN TELL JUST BY LOOKING AT HER" Cameron Diaz ("There`s Something About Mary"), Calista Flockhart ("A Midsummer Night`s Dream"), Glenn Close ("Cookie`s Fortune"), Holly Hunter ("Living Out Loud") and Kathy Baker ("The Cider House Rules") will star in this romantic comedy which follows the lives and loves of five women. (UA)


"ANGEL EYES" A female cop who had an abusive childhood ("Out of Sight`s" Jennifer Lopez) befriends a man who endured the trauma of witnessing his wife and son die in a car crash. Luis Mandoki ("Message in a Bottle") helms this romance/thriller. (Warner Bros.)


Außerdem laut Homepage von Intertainment:

The White River Kid mit Antonio Banderas und Anthony Hopkins
The Big Kahuna mit Danny de Vito
Caveman`s Valentine mit Samuel L. Jackson
The Third Miracle mit Ed Harris und Armin Müller Stahl
Grey Owl mit Pierce Brosman
City by the Sea mit Robert de Niro


Wie man unschwer erkennen kann, sind hier sehr viele Filme bei, die potentielles Blockbuster Potential, bzw. überdurchschnittliches Potential haben!

Wer bei zur Zeit 40 € diese Aktie nicht kauft, wird im kommenden Jahr den Kursen hinterher rennen!
Während man zur zeit nur einen Film pro Quartal auswerten kann, so wird sich dies in den kommenden Quartalen deutlich steigern! Bereits Ende 2001 werden wir mit Sicherheit 3 Filme pro Quartal auswerten! Dies sollte uns den erwarteten Umsatzsprung und die damit erwartete Reputation auch in Deutschland bringen!

Ich werde diesen thread zu gegebener Zeit mal wieder hochholen und schauen, was aus den Filme geworden ist!

Mein Ziel bis Ende 2001 sind deutliche dreistellige Kurse, wobei die erste Zahl mit Sicherheit nicht eine 1 sein wird!

Gruß

SeroZ

[ystern]

@SeroZ

Lies mal.....

The German firms bankrolling
Hollywood hits

October 10, 2000
Web posted at: 1049 GMT

By Steve Zwick

(TIME.com Europe) -- COLOGNE, Germany -- Quick! Who signs million-dollar
paychecks for Catherine Zeta-Jones, Michael Douglas, Dennis Quaid, Leonardo
DiCaprio and Martin Scorsese?

Would you believe a German company with a name that could come from a Mel
Brooks farce? Cologne-based Splendid Media is co-producing the movie Traffic,
which Zeta- Jones, Douglas and Quaid are filming.

Splendid is also putting up $65 million for Scorsese and DiCaprio`s $90 million
The Gangs of New York. And if all goes according to plan, it will funnel more
than $100 million into a series of co-productions with Zeta-Jones` production
company, Milkwood Films, over the next two years.

What`s more, if Splendid wasn`t, other German companies probably would be. In
the past year, German production companies and film funds have acted as
money men for John Travolta, Bruce Willis, Tom Cruise and former Disney
Studios boss Joe Roth.

Nearly 20% of the $15 billion that Hollywood is turning into films and videos this
year has come from Germany, where in 1999 the word media had the same
dizzying effect on investors` neurocircuits as dotcom did in the U.S.

Mission Possible

Last year, 12 relatively unknown German film distributors tossed their shares out
onto the then roaring local stock market and reeled in more than $3 billion in
capital. They have used that war chest to gobble up strategic chunks of the
shape-shifting worldwide filmmaking and distribution industry.

They ran rings around established German players like Kirch Media and
Bertelsmann, who were left with token pieces of carefully selected merchandise.
Another $1 billion flowed into German film production funds, which raise money
from private investors for specific films such as Mission: Impossible 2, which
got $100 million from German sources.

Most of these seeming upstarts have been around for 20 years or more, eking
out an existence buying German-language rights to non-German films and then
selling them to cinemas and TV stations. Like film producers, such distributors
succeed or fail based on their ability to pick winners and avoid losers.

But while a producer has the advantage of being able to control cost and content
from day one, distributors only had the ability to bid on individual films or
bundles of films. It made sense, therefore, that someone who could make money
with his hands tied as a distributor could make more with his hands free to tinker
as a producer --if only he were given the opportunity.

Last year, a cash crunch in Hollywood and a Geld glut in Germany provided that
opportunity. Splendid Media was one of the first to move on Hollywood,
agreeing to buy 51% of strapped Hollywood film financing and distribution
company Initial Entertainment Group last July. It was through that deal the folks
at Splendid hooked up with Scorsese.

But many of these "co-productions" are really just old-fashioned "output deals"
which lock up distribution rights to a successful producer`s next five, 10 or 20
films, but yield little in the way of direct control. A real producer swims far
enough up the production stream that he has some say-so in a film`s budget,
talent and content.

Werner Koenig, who runs Munich-based Helkon Media and is one of the few of
this new wave with actual production experience, has just finished a Leslie
Nielsen comedy called Space Travesty. "We filmed most of it in Germany, with
a German team," Koenig says. His company is now part of a consortium that
wrestled production of the new Rollerball remake away from MGM.

"A studio will only sell you rights to a film if it thinks you`re paying more than
they can earn on it themselves," he says. "MGM tried selling us Rollerball sight
unseen as part of a package deal, but instead we brought our Neuer Markt
money directly to Atlas Entertainment, the originator, and became partners."

And the buying hasn`t been limited to Hollywood. During last year`s bidding cycle
for European film rights, Germans scrambled not only for rights to individual
films and packages of films, but also for the European companies that produce
and distribute movies.

Kinowelt is easily the biggest of the young Turks with a market capitalisation of
$1.2 billion and a string of distribution and production companies from Hungary
to Canada.

But while the upstarts were out forming European alliances and sealing long-term
package deals with American producers, the veterans were playing it tight, even
failing to outbid Kinowelt for a $300 million package of television rights from
Warner Brothers. Kirch Media and Bertelsmann, however, control almost all of
Germany`s commercial television stations, which means Kinowelt paid more for
the films than its probable customers were willing to.

This comes just as the amount of locally produced TV fare in Germany crosses
the 50% threshold and a worldwide trend towards locally produced television
kicks into high gear.

But competition for viewers` eyes is fierce. "Movies like The Matrix were in that
deal," Koenig says. "Kirch and Bertelsmann have a tremendous library of films,
but they will still need to put up blockbusters from time to time when the public
stations run something big." Either way, a wedge now exists between the big old
German boys and Hollywood`s hot new indie producers.

So far, the gamble has been a losing one. Munich-based Intertainment sparked a
euphoric burst of schadenfreude when they took an unspecified hit on the $70
million sci-fi flop Battlefield Earth.

Although preselling the television rights across Europe helped offset some of the
loss, that may come back to haunt them if stations think twice about buying in
the future. The company is betting on a $500 million, 10-film output deal with
Anne and Arnold Kopelson, who produced Outbreak and The Fugitive, to keep
their credibility alive.

The Germans aren`t the first foreigners to try their hand in Hollywood. Japanese
companies lost a bundle in the early 1990s, as did a series of French and Italian
ventures.

But this wave of German companies isn`t just buying studios -- they are buying
production teams and burrowing into the production process itself. "Each
company is pursuing a different strategy involving a complex mix of production
and distribution elements," says Stephan Seip, media analyst at Merrill Lynch.

Some of those strategies have a fantasy feel. "For $65 million, you too can be a
movie mogul and rub shoulders with the stars." But others are based on
long-term plans and objectives backed by years of experience at home. The
inevitable shakeout will come with next year`s first-quarter earnings -- an event
the suits in Hollywood will be watching as closely as the Oscar nominations.

[abgestürzt]

wie wärs mit Dausend??

[SeroZ]

Interessanter Artikel!

Allerdings ist hier nur von dem FLop BE die Rede! Get Carter wird sicherlich auch ein solcher Flop werden!

Dies sollte allerdings nicht für jeden Film gelten! THNY ist mit einer der Filme, die große positive Ergebnisse bringen!

Das wir gelegentlich mal einen Flop sehen werden, ist meiner Meinung nach bereits deutlich in den Kurs eingepreist!

Viel schlimmer kann und wird es nicht kommen!

SeroZ