Executive producer spotlife asia movie#
Executive producer spotlife asia series#

вЂњThe cuts will be more fast paced and the audience will pay less attention to details.

вЂњThe style of cinema and storytelling will change,вЂќ he says.

Executive producer spotlife asia series#

They are not looking for new directors but only new source materials and screenplays that can easily turn into profitable TV series.вЂќДЄs filmmakers shuffle between film and TV series creation with OTT platforms in the mix, Noh says feature-film budgets and production will remain the same, but independent art cinema might gradually disappear. вЂњProducers are turning their eyes on webtoons to secure IP. Most film production companies are moving their focus to TV series rather than feature-length movies,вЂќ says independent writer and film director, Noh Doyeon. вЂњTheatrical release has become exceedingly difficult. On the flip side, over-the-top platforms became consumersвЂ™ convenient choice for content and shifted filmmakersвЂ™ focus to profitable TV series.

Executive producer spotlife asia movie#

вЂњFilmmakers held the fear that movie releases during the pandemic were expected to flop and chose to wait it out,вЂќ Park says.Дue to slow releases, South Korea has lost market dominance to Hollywood for the first time in over a decade. There are more than a hundred unreleased titles since Korean movie circulation came to a screeching halt. KOFIC has requested for fresh urgent funds to restart the film circulation process. Funds capped at 30 billion won ($23.6 million) in 2020, but increased to a whopping $45 million in 2022 after pic professionals cried out for more financial aid. More recently, salary support and training were offered to less-experienced film crew and staff. Resources were distributed among independent arthouses, theaters and film distributors. Since the pandemic, KOFIC established the COVID-19 special support funds in a bid to revive the film industry. Productions proved to be arduous globally but Korean producers remained resilient in the challenging landscape. He adds that while losses are heaviest for conventional players who stuck with traditional business models, the clear winners are platforms and creators.Д®ugene Kim, co-executive producer for вЂњThe HuntвЂ™вЂ™ says, вЂњI believe it was most important to create good content consistently without giving up in spite of the market conditions.вЂќ

The COVID era has changed habits in a way where people now watch anywhere, at any time.вЂќ Park Giyong, chairman of the Korean Film Council (KOFIC), says: вЂњThe model where moviegoers watch films at scheduled times at a cinema has collapsed.