Viewpoints: Sales Strategies
Jan Willem Bosman Jansen
President
Ignite Films / Ignite Films Distribution Services
The Netherlands / USA
Can you tell us what new activities your company has concentrated on in 2009?
In 2009, we really started to take a more serious look at the VOD platforms and Blu Ray distribution for our libraries of restored Classic films. In the past, we focused our sales efforts primarily on the traditional broadcast and DVD distribution channels. In fact, we recently completed a package of 80 restored titles for a European VOD platform (4 territories) which launched this year. Our goal is to bring this number up to 100 by early 2010. Nevertheless, we have also done well this year with the major broadcasters in our markets. Classics still appeal to audiences and there is nothing to produce, so that's been an advantage for us in light of the recession. For this reason, we continue with specialist restoration in High Definition of our most prominent films.
Are there any other recent (technological) developments, which create an advantage for the distribution of your classic films?
Yes, one of the most interesting developments for us is the introduction of Digital Cinema, because it's an affordable way of releasing the Classics again. For the audiences and film buffs it's a wonderful way to see these films in their restored glory – the way they were meant to be seen – in a cinema! We also pride ourselves with our restoration efforts – from our cooperation with dedicated film preservationists working on photochemical restoration through to engaging the services of specialists in the digital HD realm. The exciting news is that we will be launching a label of restored films with UCLA Film and Television Archives in the near future.
What are the most important countries for your sales?
Our key territories have historically been USA, UK, France, Spain, Italy and Scandinavia but in the last 2 years or so, we've added Germany, Japan and Australia to our list of critical territories. In all these territories, our films have had the good fortune of being broadcast on the public stations. I think this indicates the kind of quality standard we meet. Lionsgate Films represent our catalogue in Eastern Europe, Asia and the Middle East so we're making headway in emerging markets as well.
What new titles are you offering at MIPCOM?
Three new fully restored High Definition features:
The first is the only full length feature film ever made of John Wyndham's literary sci-fi novel – "The Day Of The Triffids" (1962), which nicely coincides with the recent mini-series (BBC/Power Corp/Prodigy co-production) of the same name. The original negative was restored by Michael Hyatt, whose credits include "Spartacus" and "Oliver Twist".
Then we have William A. Wellman's 1945 masterpiece war film "The Story of G.I. Joe" starring Robert Mitchum. The film depicts the everyday trials and tribulations of American G.I.'s in Italy towards the end of WWII. Cinematically, its very gritty and realistic and the story is seen through the eyes of Scripps-Howard war correspondent Ernie Pyle (played by Burgess Meredith). He could be considered the first "embedded journalist". An added irony is that Pyle was actually killed by a sniper's bullet while covering the war in Japan, shortly before this film was released. The film negative was restored photo chemically by the Academy (AMPAS).
Our third offering happens to be one of the most definitive Film Noirs of the genre - Joseph H. Lewis' "The Big Combo" (1955). Penned by Philip Yordan, filmed by noir icon cinematographer John Alton and with a jazzy score by David Raksin, it's a dark story of crime and sexual rivalry, which stands out stylistically as one of the great film noir detective classics. The audio was restored by veteran restorer Robert Gitt for UCLA Film and Television Archives.
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