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Global Showbiz Briefs: San Sebastian, Zurich Fests Partner; LoveFilm, CBS Ink; ITV’s ‘Come Dine With Me’ Streams

Zurich, San Sebastian Film Festivals Opening Windows On Each Other
The Zurich and San Sebastian Film Festivals are creating a unique partnership for their upcoming editions, which run almost simultaneously. Zurich will open a San Sebastian Window, which will offer insight into contemporary Spanish cinema by showcasing entries from the different sections of San Sebastian’s program. In turn, a Zurich Window will enhance the San Sebastian program with contributions from German-speaking countries, particularly Switzerland. The parties intend to strengthen their alliance in the coming years. Zurich runs Sept 26-Oct 6, and San Sebastian is September 20-28.

CBS Studios Fare To Stream in UK, Germany Via LoveFilm
Amazon’s LoveFilm has singed a multiyear licensing deal with CBS Studios International to bring content from the group to the UK and Germany. Subscribers will be able to stream network TV series including The Good Wife and Blue Bloods as well as Showtime programming such as Nurse Jackie, Californication and Dexter. The original 1960s Star Trek series and and Star Trek: Voyager also will be available. Read More »

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Global Showbiz Briefs: Australia Update; San Sebastian Fest, HBO Asia Series

By | Friday September 7, 2012 @ 11:01pm PDT

Vastly Different Profit Picture For Oz Movie, TV Biz
What many have suspected about the poor batting average of Australian films is confirmed in a new study. Only about one in 15 reaches break-even financially or pays returns to investors. That’s according to IBISWorld’s Australian Film and Video Production report. TV fares much better. Miniseries and telemovies usually offer a return of 20% or more, especially if they are well-received in the U.S. The report, which excludes in-house productions by Oz TV networks, forecasts film and TV production and post-production revenues will grow by 1.2% to $A2.43 billion ($2.5 billion) in 2012-13 after an average drop of 0.4% in the past five years when there was a marked decline in film production. Production and post industries are expected to achieve modest profits of $138.3 million in 2012-13. Village Roadshow has the largest market share with 10.8%, followed by Endemol Southern Star (8.6%), Fremantle Media Australia (5.2%) and Beyond International (3.6%). Production has been stimulated by the greater availability of risk film capital and the government’s rebate scheme for film and TV productions. Industry revenue is forecast to grow by 1.9% per year, reaching $2.67 billion in 2017-18. Read More »

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San Sebastian: ‘The Artist’ Takes Audience Award; Golden Shell For ‘Los Pasos Dobles’

By | Saturday September 24, 2011 @ 2:46pm PDT

The San Sebastian Film Festival handed out its awards today, with the top prize going to Isaki Lacuesta’s Los Pasos Dobles and hot silent film The Artist taking the Audience Award. A list of honorees follows:

Golden Shell for Best Film
Los Pasos Dobles by Isaki Lacuesta (Spain, Switzerland)

Special Jury Prize
Le Skylab, Julie Delpy (France)

Silver Shell for Best Director
Filippos Tsitos for Adikos Kosmos/Unfair World (Greece) Read More »

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Global Showbiz Briefs: Australia, Spain, Japan

By | Saturday September 3, 2011 @ 12:30am PDT

Wikileaks Shows MPAA Drove Aussie Copyright Suit
A newly released Wikileaks cable from the U.S. State Dept. confirms what many presumed all along: The Hollywood studios were behind a broad copyright suit filed in 2008 against Perth-based Internet service provider iiNet. The Australian Federation Against Copyright Theft was the plaintiff of record, charging that the ISP failed to prevent pirating on its network. That claim was rejected on grounds the ISP couldn’t be responsible for its users’ actions. Earlier this month, however, Australia’s High Court agreed to hear an appeal, likely in the fall. The Motion Picture Association of America  was from the outset a driving force in the suit but ”does not want that fact to be broadcast,” then-U.S. Ambassador Robert D. McCallum Jr. wrote in 2008, adding that the MPAA wants to avoid the impression that it is “just Hollywood ‘bullying some poor little Australian ISP’.” That didn’t really work: the original ruling said that AFACT was for all intents and purposes a “local  franchise” of the MPAA. Read More »

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