Development proposal for the movie

“DOWN & DIRTY”

"better to have no deal than to have a bad deal."

Archbishop Desmond Tutu, COPENHAGEN CLIMATE SUMMIT

“Sometime in the next year, a woman will give birth in the Lagos
slum of Ajegunle, a young man will flee his village in west Java
for the bright lights of Jakarta, or a farmer will move his
impoverished family into one of Lima’s innumerable pueblos
jovenes. The exact event is unimportant and it will pass entirely
unnoticed. Nonetheless it will constitute a watershed in human
history. For the first time the urban population of the earth
will outnumber the rural. Indeed, given the imprecision’s of
Third World censuses, this epochal transition may already have
occurred.”

Mike Davis, PLANET OF SLUMS

CONTENTS

1. LETTER OF MOTIVATION

2. INTRODUCTION

3. SYNOPSIS

4. TEAM

5. TREATMENT

6. PRODUCTION SCHEDULE

7. FINANCIAL PLAN

8. OTHER – production budget,director/writer CV

 1. LETTER OF MOTIVATION

July 9, 2010

In 1976 Ettore Scola won best director at Cannes for his Italian
film “Down and Dirty”, a film ahead of its time. Much of the
social commentary went unnoticed and the film was commended for
performance and cinematic daring rather than the issues it
raised, namely homelessness, poverty, environmental degradation,
consumerism, urban settlements in economically depressed 1970s
Rome. Today a new stream of social consciousness films is
currently in the making. Films like “City of God”, “Sin Nombre”
and “Slumdog Millionaire” are raising awareness about the living
conditions, the socio-political and economic contexts within
which poor people make life and survive. “Slumdog Millionaire”
gained not only international recognition but financial reward
reaping $100,000,000 internationally. The success of socially
conscious films with international audiences shows a growing
interest in the lives of the underrepresented.

We propose to remake “Down and Dirty” in South Africa in light of

pressing issues of the environment, poverty, homelessness and
xenophobia. Recently in Copenhagen at the G9 summit, Archbishop
Desmond Tutu spoke to the vulnerability of Africa to climactic
change and the impact on Africa’s poor and unprotected
communities. “I too, stand before you as a witness. I have seen
with my own eyes the changes in my homeland, South Africa. The
Southern Cape is currently experiencing the worst drought anyone
can remember. There is not enough food. There is too little
water. The situation is becoming increasingly desperate,” he
said. Archbishop Desmond Tutu led a "vigil for survival" during
the talks. Urban settlements in South Africa developed through
design for wage labour and also through the process of migration.
Today urban settlements around the world are becoming the largest
growing social phenomenon. In South Africa urban settlements are
recently being reshaped by economic and political refugees
gravitating towards economically sound South Africa which seems
to promise opportunity. A new informal dynamic is in the making.
Our Minister of Human Settlement, Tokyo Sexwale recognizes that
housing is a priority post World Cup. We will have to return to
the issues of homelessness, poverty, xenophobia and crime which
after the event once again require urgent attention.

It is with the above in mind that we wish to reframe “Down and

Dirty”. We intend to set the film in the Imizamo Yethu township
in Hout Bay in the Western Cape. This informal settlement is
comprised of 18 hectares of settlement houses/shacks with
approximately 33 600 people with little or no infrastructure for
sustainable living. The majority of this group is Xhosa living
alongside Zimbabweans, Malawians and the Cape Coloured community.
Our story would be set in this context. There is a layered
interaction between those who have been long term residents with
newly incoming inhabitants set in a stark landscape. Imizamo
Yethu is in effect a corridor of flux; transportation, migrant
labour, dwellings that go up over night, people moving in and out
, make this an “ideal” space in which to explore intercultural
dynamics, survival, life, flux, poverty, hardship, transactional
life and transcendence.

We currently have a transcript and character exploration of the

Mabena family set in a hypothetical Western Cape Township (please
see synopsis). This is what is being submitted for development
and production funds towards realising a full script set in the
real space of Imizamo Yethu. We would like to flesh out more
contextually the issues of environmentalism, poverty,
homelessness and xenophobia that effect the story of the Mabena
family. We need to engage in a fair amount of qualitative
research to develop the script over a number of rewrites to its
fullest potential. The socio-economic and environmental concerns
need to be woven more intimately into the everyday life story of
the Mabenas.

With the world’s eye on South Africa the film is poised to

illuminate real conditions for people on the ground. It is a
story that will have global and local resonance and we believe
find audiences much like those drawn to “Slumdog Millionaire”
(India) and “City of God” (Brazil). The time for such a film
about South Africa is now.
 2. INTRODUCTION

Informal settlements (often referred to as squatter camps or

shanty towns) are dense settlements comprising communities housed
in self-constructed shelters under conditions of informal or
traditional land tenure. They are common features of developing
countries and are typically the product of an urgent need for
shelter by the urban poor. As such they are characterized by a
dense proliferation of small, make-shift shelters built from
diverse materials, degradation of the local ecosystem and by
severe social problems.

Informal settlements occur when the current land administration

and planning fails to address the needs of the whole community.
These areas are characterized by rapid, un-structured and un-
planning development. On a global scale informal settlements are
a significant problem especially in third world countries housing
the world's disadvantaged.

The system, in disposing of a man's labour power, would

incidentally dispose of the physical, psychological and moral
entity, "man," attached to that tag. Robbed of the protective
covering of cultural institutions, human beings would perish
from the effects of social exposure. They would die as victims
of acute social dislocation through vice, perversion, crime and
starvation. Nature would be reduced to its elements,
neighbourhoods and landscapes defiled, rivers polluted,
military safety jeopardized, the power to produce food and raw
materials destroyed....

Karl Polanyi, THE GREAT TRANSFORMATION 1944

 3. SYNOPSIS

SYNOPSIS I: Down and Dirty

“Brutti, Sporchi e Cativi” or “Down and Dirty”, directed by
Ettore Scola; story and script (Italian with English subtitles)
by Ruggero Maccari and Ettore Scola; photography by Dario Di
Palma; music, Armando Trovajoli; edited by Raimondo Crociani;
produced by Compagnia Cinematografica Champion, Rome; released by
New Line Cinema. Running time: 115 minutes.

Four generations of a family live crowded together in a

cardboard shantytown shack beside a highway in the squalor of
inner-city Rome. Everyday life revolves around the patriarch
played by Nino Manfredi. Giacinto lives with his wife, their
ten children and various other family members in a shack on
the hills of Rome. Some time ago he has lost his left eye
while at work, and got a consistent sum of money from the
insurance company, which he keeps hidden from the rest of the
family. His whole life is now based on defending the money he
sees as his own, while the rest of the family concentrate on
stealing it from him, but things turn very bad when he gets
himself a mistress and decides that she will live with him,
sharing the same bed as his wife... In a mix of hilarious
scenes and realistic portraits of social degradation, we
follow the adventures of this peculiar family in their
struggle to survive everydaylife.

Storyboard for “Down and Dirty” set in Hout Bay by “Out of Motion Films” - Copyright
2010.
SYNOPSIS II:
The single storyboard image above reflects the reinterpretation
of “Down and Dirty” in a contemporary South African context. The
film will be shot in Imizamo Yethu township in Hout Bay and will
take the central story line from the original revolving action
around the patriarch in the figure of Mabena. The story will
bring out the daily struggle of a poor family as it attempt to
survive poverty, environmental degradation, fear, xenophobia and
crime. Mr. Mabena is a Xhosa man married to a coloured woman. He
has received a sizeable amount of money from insurance for the
loss of his eye on the job. Around him his family grows more
resentful as he hides the money daily. His growing paranoia
leads him to loneliness and feeling unloved until one day he
falls into the arms of a stranger, his Afrikaanse lover, Mrs. Van
der Merwe. He moves her into the family shack and all hell
breaks loose. The family plots to kill Mr. Mabena by poisoning
him and his full fall is set into motion. This small story told
about this small family intends to bring out the broader issues
at play in the life fo the poor of South Africa today.
 4. TEAM

PRODUCTION COMPANY

Name of Company
OUT OF MOTION FILMS cc

Company Ownership
Ownership of the company: Damir Radonic and Angie Mills,

Fiscal Year End

March 1st

Registration Number
Pending

Where Registrated
South Africa

Date of Registration
June 2010

Purpose of Company
To produce, market and distribute motion picture and other visual
media

Postal Address:
PO Box 291821
Melville 2109, Johannesburg, South Africa

Delivery Address
137 Greenway Road, Greenside
Johannesburg, South Africa
 EXECUTIVE PRODUCER – Damir Radonic

Enters the film business from a background of architecture and

urban design. His keen interest in South African urban
development and issues around housing brought him into a position
to understand film as the right medium to create social
awareness around those topics. Homelessness and informal
settlements are the core of his interest and possibility of
adaptation for “Down & Dirty” came as clear opportunity to tackle
these concepts as global rather than local phenomena. As
Executive Producer and Director he has recently realized his
first feature film “Taka Taka-ta`”, a light hearted South African
soccer comedy. Damir will act as both Executive and Creative
Producer on “Down and Dirty”.

PRODUCER / WRITER – Angie Mills

Angie has been engaged in a number of capacities in the South

African film and television industry over the past 15 years
including as a commissioning editor at the SABC. As script
developer she has worked on feature films as “Max and Mona” and
“The Bird Can’t Fly”. In 2008 Angie was invited to participate in
the Cannes film festival as a panelist alongside other African
women filmmakers. She is also producer on the feature film “Taka
Taka-ta”. Angie is the appointed writer on “Down and Dirty”.
Her full CV is supplied with this submission.

SCRIPT EDITOR – Margaret Goldsmid

Margaret Goldsmid has agreed to work with the “Out of Motion

Films Team on developing the rewrite of the original script
towards a South African translation of “Down and Dirty.” Margaret
has been working intensively with National Film and Video
Foundation on a number of feature film projects.
 5. TREATMENT

“Ultimately, any sign or word is susceptible to being converted

into something else, even into its opposite.” Statements on
Appropriation (2009) Michalis Pichler

Deprivation is a multidimensional concept. In the sphere of

economics, deprivation manifests itself as poverty; in politics,
as marginalization; in social relations, as discrimination; in
culture, as rootlessness; in ecology, as vulnerability. The
different forms of deprivation reinforce one another Often the
same household, the same region, the same country is the victim
of all these forms of deprivation. Because the poor are often cut
off from the decisionmaking process of their communities,
discriminated against by other stations in society, cut off from
abiding roots in the community, and relegated to occupy
environmentally unsafe areas of societal space, the solutions to
their dilemma require a multifaceted approach based on an
understanding of broader deprivation.

The director will take as his departure point for the

aesthetics of the film the work of collage/compositing. The
screen will be split into three frames, the main frame, the
side bar and the top bar.
Main Frame: The film opens, early morning, haze of smoke
from fires, with a young girl carrying a bucket on her head
meandering in a wide locked off shot down a dusty road
towards a water point. She walks between corroded and
brightly coloured shacks and comes out into a “clearing.” In
her path people criss-cross on their way to work, doing early
morning tasks, students off to school, women selling mealies
on the side of the road calling out, chickens clucking peck
at the hard ground, taxis blare their latest kwaito hits(SA
popular music), boys cat call and girls walk by, the girl
continues on her path undeterred. The whole swirl of life
happens against a collage backdrop of shacks stacked against
one another, leaning into one another, some old and leaking,
others brightly painted, others decorated beyond belief, a
few with flowers growing on a small patch of land, a lone
tree bends outside a lime green metal wall, cloth sack hangs
over roofs to protect the inside of the homes from rain and
rocks hold the sacks down. Cut to mid shot of a group of
women, gossiping, discussing their gambling of the Chinese
numbers game, as they fill buckets and passing the latest
news about what is happening in the neighborhood. The young
girl arrives to collect her daily supply.
Side Bar: A close up of dirty water from a polluted river
swirls on the side of the main frame, some plastic bottles
and a cup floats by.
Top Bar: A corroded roof, filled with holes, leaks.
Collage/compositing is visible in a number of forms that are
distinctly South African and township based. The way the
dwellings take their shape through the notion of
available/found elements rather than using “purpose made”
building blocks.
South African “Shacks” are adopted, borrowed, usually recycled
of man-made visual culture. The appropriation of consumer
markers and brands towards creating intimate spaces that hold
dignity and ownership is a powerful dialectic around power
relations between the haves and have nots. Our film intends
to draw on these aesthetics and further to foreground the
recycled nature of the ways in which people reuse materials
towards creating newness, contemporary life, and
experientiality.
“The assemblages do not distinguish primarily between which parts
are supposed to be original and which have been found and
gathered from someplace else; assemblages are interested in what
works, what has social effects." Assemblage Theory and Social
Complexity (2006) Manuel De Landa
These urban settlements marked by different forms of
transport where children run through streets pushing old
tires, and brand new upmarket cars can be glimpsed as well as
rows of taxis lining roads ready to pick up their customers,
who range from domestic workers, day labourers, school kids,
hawkers, who all shuttle their way daily into the broader
nexus that also makes their lives.

The mixture of rural meeting urban is evident in these very

juxtapositions and offers ways in which there can be new
readings of migration. These migrations speak to corridors
of flux where the rural and modern intermix as do itinerant
labourers who move in and out against those more “settled”
populations, and immigrants mainly from other parts of Africa
who also settle on the peripheries creating their own
makeshift shelters.
“The migration from rural to urban areas has added
interesting and imaginative interpretations to the creative
process and transformed these mere physical dwelling places,
as humble as they seem, into spiritual abodes. There is no
fear of contradiction in the rural-meets-urban aesthetic that
simultaneously and unapologetically juxtaposes cow horns
sourced from ritual slaughter in honour of ancestors, hanging
over the doorpost against Madonna-and-child icons reverently
covered in protective clear plastic paper hanging on the
‘living room’ wall. [Shack Chic, Craig Fraser, 2002]

ART DIRECTION :
“there is as much “unpredictable originality” in quoting,
imitating, transposing, and echoing, as there is in inventing.”
Statements on Appropriation (2009) Michalis Pichler

The ways in which people decorate the exteriors and interiors

of their homes creating wallpaper and decoration through
packaging, labels, using unconventional colour and placing
old objects alongside new, traditional and modern all
displaying innovative ways of juxtaposing objects as well
images towards beautifying shacks, is a key visual reference
evident in the landscape of township life.
“Living interior walls with branded ‘wallpaper’ – surplus packaging for
popular South African products such as Lucky Star (pilchards), Bull
Brand (corned beef), Lion matches, Sunlight soap, Colgate, Palmolive
soap and Koo baked beans – is a popular décor scheme, initially employed
of necessity (functional for filling holes in the walls and covering the
unsightly lack of uniformity in the building materials), they are more
becoming a design feature in themselves.” [Shack Chic, Craig Fraser,
2002

CINEMATOGRAPHY:
From a visual point of view our film intends to draw on
collage/compositing in several ways: To allow the frame to fill in
through collage and also to split the screen towards photomontage to
remark on the different issues and themes at play in the story i.e.
gender, environmentalism etc. Given the layered nature of social
integration, to the layered context which people live and the tensions
of survival in which they find themselves, down to the very layered
nature of the shack in which they live, collage/compositing speaks to
all these levels. The frame split into three will foreground on one
hand the main drama of the story, provide another subplot / social
comment through a second “side bar” frame on the environment and again
allow for a third frame which sits on top to hold together the other
two.
To achieve such “Photomontage” we will shoot three different scenes
with locked cameras clearly understanding where are the positions of
the split/division lines. Scene will vary in shot sizes and dynamics.
Final composition will happen in postproduction. In this model, the
role of intertextuality is recognized as central to the composition of
"new" material.
COLOUR AND LIGHTING:
Grayness of township galvanized roofs and walls contrasts with blue sky
and patches of tin metal walls painted in primary colours. Richness of
textures and basic rectangular shapes collaged next to one another
occasionally patched with part of a recognizable brand advertising
board reclaims new life as a shack structural element. Shapes are
rather camouflaged hiding edges and borders and appear as an organic
manmade fabric stretched in the infinity of the Cape Town landscape.

The need for set design will be minimal as the township gives endless
possibilities to find perfect exterior and interior locations. Location
scouting will be done in accordance with the notion to shoot using
available light. Use of natural light is imperative and additional
provisions will be made only for few night and interior shoots. The use
of natural life is a gain towards capturing lived life.
SOUND:
The cacophony of children, fires crackling, horns blowing, shouts, a gun
goes off, chickens cluck, vuvuzelas intermittently blow, pots clanging,
the latest hits from the radio, water gushing from a water point, babies
crying – in sum the full experiential sound of lived life will fill the
film. We will take as much natural/available sounds as possible and
through the diagetic forge meaningful relationships between the images.

MUSIC:

Remix of available music intercultural and borderless/uncontained within

scene, free to flow from the street into the interior and often used as
noise depicting “sound pollution” as another ambient element of township
living.

LOCATION:

IMIZAMO YETHO - 18-hectare area designated for about 2 500 people, but with an actual
population of about 35 000.

Our story is set in Imizamo Yethu, a township based in the spectacular

seaside landscape of Hout Bay just outside of Cape Town. We intend to
work with found locations including finding our main site, the Mabena
family home.
Imizamo Yethu township was established in the early 1990’s as an area
where mainly black people were allowed by the authorities to build
homes known as ‘shacks’ or temporary shelters. Many of the black
residents of Hout Bay could not afford, and by law were not allowed, to
buy property or homes in Hout Bay and had no choice but to look for
vacant land on which their temporary homes were built. This was done in
many cases without permission and lead to much unhappiness and
aggravation with their white fellow residents. In 1989 the local
government had to intervene and a piece of property was developed with
basic services (roads, water and sewerage) on which black residents
were allowed to build their temporary shelters and named it: Imizamo
Yethu Estate (Imizamo Yethu is Xhosa for ‘our combined effort’)

Since its inception Imizamo Yethu has more than doubled in size and it
is estimated that approximately 55,000 people reside in Imizamo Yethu
in the current year 2009. Many of the temporary shelters of the past
are now being replaced by high quality, solid brick homes.

The residents of Imizamo Yethu comprise mainly of Xhosa speaking people

originating from the Transkei in the Eastern Cape where many still have
family members living. Transkei is also the birth place of the past
president of South Africa, the legendary Mr. Nelson Mandela.

In the early years many residents of Imizamo Yethu were those without
educational or skills training opportunities which resulted in much
suffering and hardship.

Imizamo Yethu has a unique ‘vibe’ and vibrancy which is especially

noticeable by visitors from outside. A spirit of caring and
friendliness (‘ubuntu’ as it is known in Xhosa) are experienced
everywhere with children playing peacefully outside their homes and
often in the streets. A bustling place of chaotic yet somehow cohesive
co-existence. On a Thursday afternoon, children are running and
playing as weomen are keeping a watchful eye, preparing dinner and
chatting. The men are playing pool and talking in their own circles.
Traders selling their goods ensure that many essential items can be
purchased within a stone’s throw distance from most homes. Many
convenience shops (Spasas) are located in and around homes where
residents can buy their bread, milk, basic groceries and of course,
sweets and cold drinks for the ever hungry children. Imizamo Yethu is a
haven for entrepreneurs who are willing to try just about anything out
to do business and make a small profit.

Progress and development often also have it’s negative affects on a

society and Imizamo Yethu’s residents are also not spared in this
regard. Many homes have problems with alcohol and drug abuse, woman and
child abuse and crime. A special combined church service was organised
on Sunday 22 May 2005 to pray for these issues including the
devastating effect that HIV/Aids and other diseases have on members of
the community.

“Neighbors avail themselves to mind your children while you are out
looking for work. They will call in a personal favour or incur a debt
on your behalf by organizing a lift through a ‘cousin’ to take your ill
grandmother/spouse/child to hospital. They will take up a monetary
offering in the neighbourhood or at their job in the city to help you
pay your bus fare to the funeral of a distant uncle. They will even
attend the funeral of someone in the area, no matter how little they
knew them, as a show of support to the deceased’s family.” [Shack
Chic, Craig Fraser, 2002]

CAST:
An ensemble cast will be lead by seasoned actors John Kani
and Shaleen Richards.

Mr Mabena – John Kani

Kani's work has been widely performed around the world, including New
York, where he and Winston Ntshona won a Tony Award in 1975 for Sizwe
Banzi Is Dead and The Island. These two plays were presented in
repertory at the Edison Theatre for a total of 52 performances.
Nothing but the Truth (2002) was his debut as sole playwright and was
first performed in the Market Theatre in Johannesburg. This play takes
place in post-apartheid South Africa and does not concern the conflicts
between whites and blacks, but the rift between blacks who stayed in
South Africa to fight apartheid, and those who left only to return when
the hated regime folded. It won the 2003 Fleur du Cap Awards for best
actor and best new South African play. In the same year he was also
awarded a special Obie award for his extraordinary contribution to
theatre in the USA.
Kani is executive trustee of the Market Theatre Foundation, founder and
director of the Market Theatre Laboratory and chairman of the National
Arts Council of SA.
He most recently appeared as the South African leader Oliver Tambo
alongside William Hurt in the feature film “Endgame” [2009] directed by
Peter Travis.
Mrs Mabena – Shaleen Surtie Richards

Shaleen Surtie-Richards is a South African actress best known for her

title role in the 1988 feature film Fiela se Kind (Fiela's Child), and
as Ester (Nenna) Willemse in the M-Net soap opera Egoli: Place Of Gold.

She has been a judge on the reality competition television series

Supersterre since the show premiered, in 2006.

Shaleen was born in Upington on 7 May 1955 and schooled both there and
in Cape Town. Qualifying as a kindergarden teacher, she taught in both
cities between 1974 and 1984.

Shaleen took many roles in several amateur stage productions between

1974 and 1981 and was also active in productions of the Department of
Education’s Theatre-in-Education from 1982 - 1984.

She became a professional actress in 1984 and has become very well-
known through her appearances on stage, television and films.

Her stage work over the last 30 years includes productions by some of
the country’s leading directors. She has been seen on stage in all the
main centers of the country, as well as London, and has participated in
both the Grahamstown and Edinburgh Festivals.
6. Down & Dirty Production Schedule 2010 / 2011 Time

Development - May 1 – October 1

Preproduction - October 4 – December 3

Production - December 6 – January 3

Postproduction - January 3 – April 22

Marketing/distribution – May 2011

7. FINANCIAL PLAN T(10 South African Rand = 1EURO)

 1. Film will be registered as SPV cc.
2. Shares in above mentioned company will be distributed according
to investments ratio.
3. From all profits the investors will be paid back first.
4. No money from profits will be paid to the producers until the
investors are paid back.
5. Both investors and producers share profits from all exploitation
of the movie.
6. OUTOFMOTION will secure additional funds for marketing through
NFDF and GFC contribution

DISTRIBUTION
T
Monies paid back to the investors and producers will come from
the universal exploitation of the movie. Product placement,
theatrical release, DVDs, broadcast licenses, weekend special
presentations, soundtrack of the movie other merchandise products
associated with the movie.
A brief description of the various markets or venues in which
DOWN & DIRTY may be exploited is as follows:

(a) Movie Theatres. Theatrical distribution of motion pictures

involving the manufacture of release prints from the original
print, the promotion of a motion picture through advertising and
publicity campaigns and the licensing and booking of the motion
picture to theatrical exhibitors. Expenditures on these last
mentioned activities are substantial and generally (but not
always) have a direct relationship to the effect on revenues
realized from the theatrical release of the motion picture.
Motion pictures that are made available for a theatrical release
are generally distributed by releasing agents and provide for a
percentage of gross revenue to cover theatre-operating expenses
with a split of rental payments there after between the
distributor and the exhibitor. Under agreements with theatrical
exhibitors, an exhibitor of the motion picture will pay license
fees to the distributor on a percentage or flat rental basis.
Under a percentage arrangement, the exhibitor will pay a
percentage of box office receipts and under a flat rental
arrangement; the exhibitor will pay a flat fee without regard to
box office receipts.

Generally, agreements for theatrical release of a motion picture

provide for a larger percentage of box office receipts to be paid
during the earlier weeks of distribution of the motion picture
and a smaller percentage of box office receipts in later weeks.
Such percentage to be paid to the distributor and the theatre
exhibitor is determined by negotiation and generally varies
between 10% to over 50% of the box office receipts. Many factors
are involved in the negotiation of such percentages including the
perceived potential success of the motion picture, the number of
theatres being licensed and the location of the theatres;
(b) DVD sale areas have grown rapidly in recent years, especially
for feature films which have been exposed to theatrical
exhibition. This market can, by itself, recoup all or a
significant portion of the cost of production and distribution
and even generates profit. The most significant aspect of this
market is DVD rentals for in-home viewing, a market which
continues to expand rapidly throughout World;

(c) Pay-per-view television. The pay-per-view television delivery

to private homes by cable television systems has been developing
steadily in recent years and now represents a significant market
for feature length films;
(d) Television. This market area is subdivided into three
categories: free network television; pay and cable television
markets; and syndicated television market, the most significant
of which is the free network television market. Distribution
agreements made with major free television networks in North
America generally provide for a lump sum fee. In the United
States, the pay and cable television markets have developed to a
stage where the distributors offer license fees which are
generally competitive with the free television network fees.
Sales of theatrical motion pictures to pay and cable television
networks in the United States and Canada are much more likely
than sales to free television networks, although sales to both
may occur. The television “syndication market” is comprised of a
number of independent stations which have formed associations for
the purpose of acquiring programming and may include some free
network television stations.
Motion pictures are generally only distributed in the syndication
market after having completed stipulated license periods with pay
television, cable television and/or free television networks.
Revenues from this source can therefore be received for extended
periods of time after a motion picture’s initial theatrical
exhibition or other release; and
(e) Sales of Sound Track. Films that achieve wide releases often
market a compilation of the music used in the film and in some
cases sales of digital and compact disks have generated
significant additional revenue for the film. These are sold
through conventional music vendors.