Chapter 372: Higher Distribution Costs

After spending one day and two nights at his Hudson River villa with Blake Lively, Charles returned to his place.

However, he had a visitor, Dan Glickman, the chairman of the American Film Association.

Amelia came in with two cups of coffee. Dan Glickman took a sip, smiled at Charles, and said, "Charles, you've got what you wanted. Next month, you need to go to the Cannes Film Festival in France and meet with Gilles Jacob for a chat!"

Gilles Jacob was the chairman of the Cannes Film Festival, and Charles had to sweet-talk him.

"I got what I wanted? Slumdog Millionaire is still rated R, and I have to wait until January next year for you to announce that Capet Pictures has become a full member," Charles pouted, obviously a bit displeased.

People are like that; as their abilities and status increase, so do their desires!

"It's just applying some pressure from Hollywood to the Cannes Film Festival. Why should I go?" Although Charles knew he had to go to maintain the film exchange and cooperation between the U.S. and France, for such a trivial thing, he had to make the trip?

"Charles, you know the French can be peculiar in some areas. This time, our strong stance has made some French filmmakers resent Hollywood. You wouldn't want Hollywood movies to be targeted in the French market, would you?

Besides, your relationship with the French entertainment industry is special. Your co-productions like The Da Vinci Code and Taken speak for themselves. Your film La Vie en Rose was even more successful, and Capet Pictures produced another French film this year too."

Dan Glickman put down his coffee. "Anyway, France is still the third-largest economy in Europe, and their entertainment market isn't small!"

Of course, Glickman didn't explicitly mention that Charles Capet's half-French heritage was also an advantage.

As for why he didn't mention Germany and Italy, it's because Germany is a tool for the U.S. to control Europe.

As for Italy, there's nothing much to say; it's practically nonexistent, while France always has ambitions of dominating continental Europe.

The British Isles have basically transformed from America's grandparent to its child!

"The economic situation isn't good now, and Capet Entertainment has been in touch with some Middle Eastern capital. I don't want pressure from Washington D.C.," Charles looked at Dan Glickman.

"Don't worry, Capet Entertainment is under my control, but future endeavors might require substantial funds!"

Hollywood can be quite exclusive at times, with shareholders of large film groups entangled in political issues.

Middle Eastern capital investing in Hollywood often faces all sorts of messy scrutiny and frequently gets halted.

Dan Glickman nodded, "You're not the only one who has raised this issue; we are indeed lobbying Congress to ease things up; We all know who's really opposing Middle Eastern capital!"

"Don't worry, this is a growing trend. Middle Eastern tycoons have a lot of money, and if they aspire to join high society here, we should welcome them with open arms," Charles knew well that it was Jewish influence stopping the Arab world from having a voice.

"I trust you. As long as you don't give up control of Capet Entertainment, they can't do anything," Dan Glickman had no doubt that a wave of mergers would sweep through Hollywood after the economic crisis.

"Alright, I'll take a trip to France," Charles saw no big deal in going to France, considering Vicky Cristina Barcelona had to be promoted at the Cannes Film Festival!

"Oh, and I don't want Slumdog Millionaire to still be rated R before it's released. At least get it to PG-13!"

Dan Glickman nodded, planning to look into this movie once he got back. If some cuts could bring it down to PG-13, that would be good.

In the evening, Charles lay in bed with Phyllis Jones giving him a massage.

"We held dozens of screenings for Slumdog Millionaire, but it's so niche. The scenes in the Indian slum and the lack of stars make it hard to market," Phyllis Jones said while massaging.

"Hah, without an Oscar buzz, such movies are tough. Juno, from its release last year to its takedown in early April, cost us more than $20 million in marketing and PR!" Charles understood. Low-budget, high-art films with good reviews need money for marketing and PR.

Moreover, Juno cost just $7 million to make, and at least they had Kate Beckinsale to market, with Ellen Page having some recognition in the indie film world.

That $20 million in marketing won Juno an Academy Award nomination for Best Picture and Best Actress. Worth it!

The most important thing is Juno had great reviews, and a global box office haul of $230 million was a great success!

"Even though Slumdog Millionaire releases in September, it will likely start in a pitifully small number of theaters, and slowly build up word-of-mouth. We'll keep spending on marketing and PR to boost its reputation at film festivals. Shouldn't be a problem," Charles planned to spend over $20 million on marketing for the movie, and the Oscar for Best Picture would need serious PR too!

"I think Slumdog Millionaire is really well-made," even Phyllis Jones had developed some understanding of the film industry. To get box office numbers, you need more people to know about the film.

Awards are a great way to spread the word, just like how Japan saw a surge in interest for Departures after it won the Oscar for Best Foreign Language Film, keeping it in theaters from last September all the way to April this year.

Long-running films have different marketing models compared to short runs, but the amount of money spent on distribution can reduce the screening time needed to maximize box office potential sooner.

Charles always remembered his first film, My Big Fat Greek Wedding, had no money for promotion and stayed in theaters for over a year.

Cloverfield was innovative, and despite its $25 million budget, its mockumentary-style monster horror and Odette Annable's starring role earned high praise.

Capet Pictures spent $15 million on advertising, opening in 3,400 theaters and pulling in $40 million in its first weekend, with a total North American box office of $86 million. The international box office was also set to surpass $90 million, more than the North American market.

Of course, such a film wouldn't waste money on Oscars PR, but might get awards at the Saturn Awards or Scream Fest!

It's clear that in recent years, the cost of film promotion has been climbing higher and higher.

*****

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