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发表于 2005-5-19 15:04
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转自：www.koreanfilm.org
2005.05.11: The Bow's unusual release strategy
Tomorrow, Kim Ki-duk's 12th film The Bow screens as the opening film of the Un Certain Regard sidebar section at Cannes. On the same day, however, it will also be released in Korea, and in rather idiosyncratic fashion.
Since Kim easily raised all the money he needed to shoot his $1.2m film from foreign sources, he was able to retain the local distribution rights as well as the copyright for himself. This has a lot of advantages. For example, the production
company that made Kim's first film Crocodile has since gone out of business,making it rather difficult to arrange for a DVD release, screenings on cable or pay TV, etc. Kim will never have that problem with The Bow for as long as he is alive.
It also means that Kim has complete control over how his film is marketed and released in Korea. And he's chosen a rather unusual method. With the exception of Bad Guy or possibly The Coast Guard, none of Kim's films have ever done particularly well in Korea. So this time he will open The Bow on only one screen in Seoul and one screen in Busan. (Regional areas will follow later, one screen per city.) He hopes the release to last a long time, though -- he's quoted as saying that if people keep coming, he'd love to have it keep screening until the end of the year. (Perhaps an unlikely scenario)
If he can make this work, it will be a really smart move from an economic perspective. Opening a film on many screens at the same time is quite expensive, since you have to make a new print for each screen. And this is, after all, Kim's own money, so it's in his best interest to make sure that release expenses are kept as low as possible. Being only one screen, it's likely to draw a lot of viewers per show, so the theater owner should be more willing to keep it playing for a long time.
Even if Kim doesn't sell as many tickets as he would with a wide release, his profits will be higher.
In my personal opinion, a lot of art films in Korea are released on too many screens, so theater owners replace them with more commercial titles after only a week or two. It would be better to choose a smaller number of screens, in the hopes that they could then play longer. This is especially true for directors like Kim who are famous, and have their own (small) devoted fan base. Even on one screen, even if you don't spend much money on advertising, you're guaranteed a minimum number of viewers. Incidentally, the distributor of Hong Sang-soo's A Tale of the Cinema will also be adopting a similar strategy, offering the film to a small number of theaters in return for a commitment to screen it for a longer time.
The other aspect of Kim's release strategy that is drawing notice is his decision to not hold any advance screenings for the press. Kim is quoted as saying (paraphrased), "I think it's proper for journalists to buy a ticket like anyone else and watch it with regular viewers." Kim is famous for his antagonistic relationship with local critics, but it sounds like he's skipping the press screenings not because he's scared of bad reviews, but because he wants to sell a few extra tickets. In some ways this is Kim's ultimate revenge... Even if they trash his latest film, he'll still be pulling in $7 for each critic who sees it.
简略翻译一下：
与以往不同，金基德这次保留了《弓》的国内发行权和版权。这对金来讲有很多好处，例如，《鳄鱼》的制作公司已经停业，那么现在想发行这部影片的DVD，或在电视台放映就会很困难。《弓》在金的有生之年，就不会遇到这种问题。
这还意味着，金将全权操办此片在国内的宣传和放映，当然他也的确选择了一条与众不同的道路。由于之前，寄予厚望的《坏小子》和《海岸线》，在韩国的票房依然不佳。所以，这次《弓》在汉城和釜山各选择一家影院上映，其它地区也会陆续上映，依然每个城市一家影院。
如果金的做法成功，对其它艺术电影会是很好的借鉴。同时在太多银幕上映的成本是非常大的，因为必须制作太多拷贝。由于只在一家影院上映，每场放映的观众人数应会较多，影院老板应该也会让影片的放映时间延长。
另外，洪尚秀的《剧场前》也选择了在较少的银幕，以换取更长上映时间的做法。
金的另一个特殊做法是，他不给新闻媒体观看影片提供任何便利条件，以他自己的话说：“我想记者也应该像普通观众一样买票入场，这更便于他们以普通观众的视角观看影片。”金以与国内评论界交恶闻名，但看起来与获得他们的好评相比，他更在乎能多卖出一张票，某种意义上，这可以看作金最后的还击：因为评论家即使是要鄙视这部作品，也必须花费7美元买票入场。
[ Last edited by feizi on 2005-5-19 at 03:13 PM ] |
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发表于 2005-5-19 17:24
发表于 2005-5-19 19:42
