#How to Find a Successful Film Distributor

[vaibhavtech]

Behind the Screens: Unveiling the Secrets to a Prosperous Film Distribution

Embark on a journey "Behind the Screens" as we unveil the secrets to a prosperous film distribution. This guide, focused on How to Find a Successful Film Distributor, offers invaluable insights and strategic tips to navigate the intricate landscape of film distribution, ensuring your cinematic venture reaches new heights of success.

[dynared]

So it looks like when all is said and done, Transformers One is going to potentially break even at best (general rule is to break even a movie must make back 2.5x its budget at the box office once percentages are taken by theaters and foreign market distributors), or more likely, lose money. The first Transformers movie to lose money at the box office as even Rise of the Beasts had some profit, even if it was lower than the height of the Bayverse's power.

So, what happened?

Well, I think the answer is a massive image problem for the franchise, with its direction incredibly muddled by multiple releases under the brand with wildly varying tones, on top of producer Lorenzo Di Bonaventura making things more complicated by refusing to let the previous Bayverse go, trying to tie everything back to it despite it being clear to just about everyone else that we're not going back to that continuity.

So on the one hand, you have really child-centric products like Earthspark, animated in such a way on Nickelodeon to tell you they're for kids, and then you have the live-action movies whose height of power was the Bayverse, high-octane action films with massive amounts of explosions and women in tank tops showing off their bodies. Over in the comics and print media front, you have the excellent-selling and Eisner-winning Energon Universe comics from Skybound, the same people who bought the world The Walking Dead and Invincible, with all the violence one would expect from those books. This is resulting in a massively confusing and segmented brand which most of the audience is just thinking "cartoon is for little kids, live action is for adults" because of the mixed messaging.

This isn't even the first time the franchise has had this problem, going back to Transformers Armada's debut in the early 2000s. The more mature Dreamwave adaptation of the show coupled with the fact that anime was the hip and new thing, on top of the increasing maturity of shows like Beast Wars and Beast Machines had older fans essentially expecting Gundam SEED and instead getting a "find the Minicons" adventure. But at least there, the massive toy sales and the success with the intended kids' audience overrode any concerns from older, wearier fans. Here, there was no such metric to point to.

At the end of the day, if One bombs, which is looking more and more likely (not to Megalopolis levels, but still a massive letdown all the same) it probably means a full on return to Michael Bay style Bayhem with explosions and scantily clad women. The only other alternative is a few years off at the box office, where Hasbro and Paramount regroup and refocus their ad strategy. If the Gundam and Voltron movies get made (the former unlikely, the second quite likely given set construction), even better since it gives Paramount an idea of how to adjust. But anyone hoping for a Transformers Two shouldn't hold their breath.

[little-one-eyed-monsters]

‘With DFF and 4 Minutes not turning in the returns they had hoped for..’ can I ask what this is based on? Not in a passive aggressive way, but I find performance of BL shows impossible to track outside of tending which is a horrible way of measuring the success of a project. So is there any insight you can share on the underperformance of the recent BOC shows?

Hello @kamera85 😊 and I agree with you 100%, it's really difficult to measure the success of a show in other countries, and trending metrics is an unreliable way to check for it. Also, some shows may perform well in their home country but not internationally, and vice versa, which doesn't mean they fail necessarily, it just means they failed in a certain way.

For example, I didn't understand the true extent of Cutie Pie's success in Thailand until I actually travelled over there and experienced first-hand how massive of a deal Zee and Nunew there were. It was kinda eye-opening, and very humbling. What doesn't appeal to me may be appealing specifically to its origin, and that puts a lot of my assumptions into perspective. It just means that though the show wasn't for me, that doesn't mean they created it without putting modern sensibilities in mind.

Anyway, for a more scientific take, included in this study is the list of factors used in the streaming industry to determine show success:

These indicators are:

Customer loyalty

Popularity

Engagement

Publicity

Fandom

Social Resonance

Now let me swing this back to DFF and 4 Minutes. As to these two, first off, I don't think they failed at all from an industry perspective. In fact, their per-episode engagement numbers are through the roof (that's the soc med trends), but in the metric of KinnPorsche, well it was an underperformer. But to be fair, hundreds of successful shows would be considered underperfomers if the metric is that high.

Anyway, the reasoning behind my assumption revolves around three things, and you may or may not agree with me, and that's fine, promise. I'd love to hear your takes on it, too: 1) the lack of international distributors for 4 Minutes (publicity), 2) the mixed audience and critic reviews for both shows (popularity), and 3) the fact that BOC had difficulties funding other shows and keeping actors in their roster after the airing of these shows (social resonance).

For Publicity: the usual industry practice to fund shows in Thailand is different compared to other industry practices in Asia. In the Philippines and Indonesia, the show concept needs to be greenlit first, then sponsors and distributors are asked to come into the production prior to actually shooting the show. In China, the show needs to be shot completely in full, reviewed and passed thru censorship, before sponsors and distributors can come in to aid show funding.

In Thailand, shows must present a pilot first in order to gain sponsors and distributors. Some show pilots are so unique that it gains multiple local and international distributors. Some conglomerates, like GMMTV, don't need distributors at all, instead focusing on sponsors (this was a different case for their Japanese IPs. They needed international distributors for that one). Licensing multiple distributors is a blessing to the production, as this means a larger target audience. 4 Minutes didn't manage to clear its international distribution woes at all, and after airing, no other distributors apart from Viu wanted to license it (DFF is different because it DID manage to gain multiple licensees). What this just means for 4 minutes is that distributors may not have felt confident that the show concept would pull off good numbers, and after airing with still no distributors apart from Viu, it probably didn't (not saying that for sure tho. BOC does not release final sales and streaming numbers).

For popularity: DFF and 4 Minutes garnered lower ratings and mixed audience and critic reviews compared to KP. In the BL-sphere where shows garner an average of 7-8/10 stars, their numbers are... only average given its expensive production cost.

They also weren't much of awards darlings compared to KP (I remember that video of the 4 Minutes cast walking out of the venue when the YUniverse awards organizers made it seem they were going to get an award, but ultimately didn't).

And finally, for Social Resonance, or in this case, the stability of the company as an occupier in media: BOC may be a problematic company in the eyes of its critics, but in terms of production standard, their vehicles are topnotch. Beautifully shot, no skimping on sets, costumes and effects, unique plots and stellar acting. However, because they take all measures to ensure topnotch cinematography, their budgets are sky-high. This is why they need to make at least DOUBLE their production cost in order to fund future projects. And making back their prod cost is a tall order already.

For KP, the high revenue from that show was able to fund their next two vehicles: Man Suang and DFF, with only minimal affiliate expenditures for international distribution, and most of the sponsors' funding serving as additional benefits to the company and its employees. I'm assuming then, that these previous two shows helped fund 4 Minutes. However, their new show Shine is co-funded, and not just distributed, by WeTV (it's listed as part of the WeTV Originals Line-Up). BOC hasn't done this since KP, when they were a very new company with limited funds, who looked to IQIYI to help co-fund the show. I can only assume now that revenues from their two follow-up series (DFF and 4 Minutes), along with money from their sponsors, wasn't enough to fully fund their next project Shine, and that's why they looked for other partners. Either Shine is such an insanely expensive production that they HAD to find partners, regardless of the large money they earned from DFF and 4 Minutes, or they didn't earn enough to make up for the cost. The consecutive departures of their signed talents also didn't help my opinion of their financial stability. Bas leaving BOC despite already starring in their latest project 4 Minutes, says a lot about what they could offer to their top talents at the moment salary-wise.

Ultimately my friend, I think this is a Disney's Snow White-bombing-at-the-box-office level of assumption. Snow White earned a worldwide total of 205.6 million dollars at the worldwide box office, and for any other production these numbers are a bona fide success. But for Disney who spent 240-270 million dollars to make it, the movie is an underperformer to say the least (what a parallel tho, comparing Snow White with DFF and 4 Minutes 😅, but I hope you get the picture).

It's not that DFF and 4 Minutes were failures, quite the opposite-- they really just didn't turn in the numbers BOC expected for shows they invested this much money on. They were underperformers from BOC's scale.

Hope this answered the ask! 🥰 and again, as with everything I post, I could be wrong about ALL of it, and would welcome the more credible opinions of others. My knowledge is still very limited, as I currently work in an entertainment industry that is not based in Thailand, so there may be some discrepancies here. That's all and thank you for the ask! 😊

[fortunaegloria]

Scans of the Brazilian magazine "Cinemin" from June 1984, highlighting the movie Indiana Jones and the Temple of Doom in the cover.

The mag also highlights an article about Judy Garland, another one about the Oscars, the Gramado film festival, and how the movies Memoirs of Prison (Memórias do Cárcere), We've Never Been So Happy (Nunca Fomos Tão Felizes) and Quilombo restored the prestige of Brazilian cinema in Cannes, which I won't emphasize here.

More mags here.

Translation of the text in the second image into English:

Brazilians won't have to wait long to see the new absolute box office champion in the history of cinema, Indiana Jones and the Temple of Doom, which premiered in the US on May 23rd, and whose box office is already beating Return of the Jedi. The thing is, Brazilian distributors decided to bring forward the release in our theaters, and instead of Indiana premiering in December, it will be shown during the mid-year holidays. Everything now is a bureaucratic problem (importing, making copies, etc.), but the release is already being prepared with great pomp.

INDIANA JONES and the Temple of Doom is a kind of sequel to the previous success of the same character, Raiders of the Lost Ark. The story takes place chronologically one year before the first film, in 1935, starting with a riot in a Chinese cabaret in Shanghai and extending to a temple in India where human sacrifices are performed. The film has the same team that made the first Lost Ark: George Lucas is the author of the story and main producer (the film is under the Lucasfilm label); Steven Spielberg is the director, and Harrison Ford once again plays the role of adventurer and archaeologist Indiana Jones. The new additions are the presence of the "good girl" Willie Scott and the boy Short Round. The rest is a lot of action and suspense every minute, in the style of the old series from the 1930s and 1940s, which Spielberg and Lucas decided to pay homage to when they conceived the Indiana Jones series.

WE PUBLISHED on the cover and on this page some scenes from the film, since the magazine was practically ready when we were notified of the surprise launch, but CINEMIN readers will be able to find out much more details in the special edition that we are preparing and should hit the newsstands next month, CINEMIN FANTASTIC, which focuses only on films in the fantasy/science fiction genre.

[oldbutchdanielcraig]

What is up with A24’s treatment of Queer? Why did they sabotage their own product?

it's baffling to me. it's very interesting having watched from an adjacent perspective because it's like. at the beginning of A24 fame they seemed very selective about their acquisitions and branded themselves more as a production company than a distributor. and that was what made them so (and i say this like. in terms of their success not my personal feeling) good. like people bought into it. they were in a lot of real ways different from other film distributors. which made them "blow up" and be able to acquire more. and right now it seems like they're in a really flaky era of not knowing what to do with themselves now that they've expanded. they most likely don't have the manpower for that expansion and that's probably the main reason for the queer flop. like they're having to choose to prioritize other movies and it seems mainly (?) they prioritized babygirl as it was like. i saw four million articles talking about it but nobody actually liked the movie 😭 or cared really. but like to quote mean girls. they were REALLY trying to make babygirl happen.

like of course i don't know what exactly went into the division between A24 getting US distribution and MUBI getting international distribution (though A24 is as is proved by their merch etc a US centric company anyway). also don't know what went into deciding what movies to promote more than queer or wtv. it's strange to me that luca's movies haven't really been nominated (with the sort of exception of challengers) since cmbyn like? like i just don't get that in any way. i'd have chosen other movies over cmbyn for awards season hype in the first place so i can't even begin to untangle that.

i also can't express how confusing i find this for my circles and even slightly beyond but i also do think it's unfortunately that queer isn't a story for the mainstream. like i think even when it comes to burroughs work people don't fully know what to do with queer because compared to his usual it's just so raw and personal. so then you're taking like. a famous but more gritty writer's most emotional work about a perceived one-sided love story and adapting that into a movie. and when you think about a mainstream audience that already finds queer love stories hard to comprehend this one is just going to be more difficult.

idk it's really hard for me because on one hand like. i think one of the most annoying parts of the cmbyn wave were people interpreting it as this wholesome love simon esque love story when it just. isnt. and if queer had hit the mainstream i'd be fighting for my life trying to get people to understand it's fucked up and awesome instead of like. uwu tenderqueer stuff. rather than fighting for my life getting people to watch and engage with it. and i almost prefer the current reality even if i wish everybody in the world had seen this movie. but IDKKKKK. i guess what i think is that A24 should award me and 5 other people a dinner at luca guadagnino's house just so we can say thank you and kiss his cheeks for his service to filmmaking etc. and fuck A24 until they send me my queer zine at which point thank youuuuuuu A24. and release a bluray and vinyl and script book for queer at which point thank youuuuu. A24.

[savage-kult-of-gorthaur]

"I SAW IT IN MY LATE TEENS... IT WAS JUST WILD; SEX, CAMP, DRUGS, HOLLYWOOD, SCANDAL, GIRLS. WILD."

PIC(S) INFO: Spotlight on American film actress and model Sharon Tate as Jennifer North in the 1967 cult American drama film "Valley of the Dolls," plus other promo shots and stills from the infamous and glamorous camp classic. Photos courtesy of The Criterion Collection/Twentieth Century Fox.

MINI-OVERVIEW: ""Valley of the Dolls" is a '60s time capsule, but it’s not an outdated relic like, say, "Reefer Madness." The book and the movie, Lisa Bishop observes, were “very prescient” about sexual hypocrisy and how women are exploited in the entertainment industry, as well as how they can play a patriarchal system for their own gain.

PART II: And the film continues to have an indelible impact on popular culture. A stage adaptation mounted in the 1990s by Theatre-A-Go-Go out of West Hollywood, featuring a pre-"The Office" Kate Flannery as Neely, found further success Off-Broadway. Last year, a lavish, extras-packed two-DVD set was produced by Criterion, distributors of definitive film editions by the likes of Bergman, Kurosawa, and Truffaut. “You can’t be serious all the time,” says Susan Arosteguy, who produced the Criterion release. “It’s a hoot to watch. You have to take the entertainment value. It’s a cult camp classic, and we have plenty of films like that in the collection, too. It fits right in.”

PART III: "Valley of the Dolls" is also in the D.N.A. of director Lee Daniels’s work. In a January episode of his career-girl TV series "Star," Queen Latifah referenced one of Valley’s signature lines: “Sparkle, Neely, sparkle.”

PART IV/END: “It’s part of the fabric of the work that I do,” Daniels tells "Vanity Fair." “I saw it in my late teens. . . . It was just wild; sex, camp, drugs, Hollywood, scandal, girls. Wild.” Daniels, too, finds the film very much of the moment: “Everyone is waiting for the next Judy Garland, the next Whitney Houston, the next Amy Winehouse, the next star that we can build up so that we can tear them down.”

But the film endures, he says, because it has more to offer than camp and cheap laughs. “Here’s the thing,” Daniels explains. “It’s not bad. It’s become a cult movie. It is loved. That means it has tapped into something beyond just being a thing to laugh at and with. It speaks to men and women because it’s about what is screaming inside of us all; we are somebody.""

-- VANITY FAIR, "Why "Valley of the Dolls" Still Sparkles at 50, by Donald Liebenson, published December 13, 2017

Source: www.vanityfair.com/hollywood/2017/12/valley-of-the-dolls-50th-anniversary.

[kylesvariouslistsandstuff]

Animation Face-Offs

I find it amusing that the first real major animated movie box office show-off is occurring some 35 years after the one that arguably started it all...

November 18, 1988... Walt Disney Feature Animation's celebrity-loaded modern musical OLIVER & COMPANY from first-time director George Scribner, and Universal's release of the Steven Spielberg/George Lucas-produced ex-Disney director Don Bluth adventure THE LAND BEFORE TIME...

This wasn't the first time two animated pictures opened next to each other.

In fall 1982, Hanna-Barbera's HEIDI'S SONG opened opposite a Looney Tunes clipshow anthology movie called 1001 RABBIT TALES. Combined, they made $5m at the domestic box office... Not great times to open an animated feature that wasn't Disney, and not that their distributors probably even cared at the time anyways.

Sometimes, there are around two animated features a month. It's not uncommon for two studios to share. Off the top of my head, you had - in November 2010 - MEGAMIND at the beginning of the month, and TANGLED before Thanksgiving. In the early summer of 2013, MONSTERS UNIVERSITY only opened about a few weeks before DESPICABLE ME 2. TROLLS and MOANA shared November 2016. Again, just random examples off the top of my head.

But usually, they're spaced out... TROLLS BAND TOGETHER and WISH are five days apart...

TROLLS 3 is projected to take in around $20-25m this weekend, which is significantly less than what TROLLS took in back in 2016, but still alright for this kind of movie. WISH is set to out-open it, with over $50m for the 5-day Thanksgiving weekend stretch. For a $200m-costing movie, it's going to need all the legs in the world to get by. TROLLS 3 will need to pull some good weight too to more than double its much more modest $95m budget. (Wild to think that $95m seems *low*... There was a time when a DreamWorks/PDI movie cost $75m... And for a good while, roughly $135m!)

I'm curious to see how each film affects one another. Families aren't made of money, and there's gotta be a kind of adult pull to really make big bucks, and I'm not sure if either of these films have that. Plus you have stuff like WONKA right around the corner... Thankfully no Marvel, Star Wars, or Avatar movie to counter with. Although, PUSS IN BOOTS Dos last year, woooooow. That cat held his own against the blue cat aliens.

But yeah, if you think about it... This is a rare head-to-head race.

One could argue we saw this in late winter of 2021 when Warner Bros. released their live-action TOM & JERRY, and then Disney Animation had RAYA AND THE LAST DRAGON out a week later. But that was before vaccines got out for all age groups (they were distributed to the elderly first, I - who was 28 at the time - couldn't get my first shot until April.), and the films had simultaneous streaming debuts, so I don't really count that. Plus, Cinemark theaters refused to show RAYA over a disagreement on who got most of the earnings. (That would've been my return trip to the movies after a year-long hiatus, my return ended up being A QUIET PLACE: PART II two months later.)

It's funny how TROLLS 3 is Universal and WISH is Disney... Just like how LAND BEFORE TIME was Universal, and OLIVER was Disney.

The Disney-Universal race was successful for both. OLIVER took home $53m domestically (the $71m figure you often see comes from the film's 1996 re-release), LAND BEFORE TIME took home $48m. Worldwide is up the air, because Disney never released OLIVER's numbers, Universal reported that LAND made around $84m. Winner is unknown, but it was always assumed to be LAND. Maybe because dinosaurs are more Universal than a modern-day New York comedy? Who knows!

Perhaps greatly inspired by that double-whammy of animated hits, MGM/United Artists wanted to try that for themselves. Don Bluth split with Spielberg and Lucas due to creative disagreements during production of both LAND BEFORE TIME and his other Spielberg collab AN AMERICAN TAIL, and set up ALL DOGS GO TO HEAVEN with the lion. MGM/UA released ALL DOGS the same day as THE LITTLE MERMAID...

Bluth's movie got left to sink by the Ron Clements and John Musker-directed musical sleeper hit... It wasn't even close. $27m domestic vs. $84m domestic, and in addition that, MERMAID's worldwide figures put it at roughly $183m. (Again, in 1989-90, without the 1997 re-release counted.) ALL DOG's worldwide total is unknown.

This didn't entirely scare distributors away from trying again.

The fall of 1990 was originally set to see another Bluth vs. Disney face-off. If plans had held, MGM-Pathe would've released Bluth's ROCK-A-DOODLE on the same day as Disney's sequel THE RESCUERS DOWN UNDER. MGM-Pathe ran into financial and legal problems, putting Bluth's film in limbo for a bit...

Instead, Warner Bros. went toe to toe with Disney, releasing an animated feature that wasn't a Looney Tunes clipshow: THE NUTCRACKER PRINCE... Suffice to say, it barely scrounged up $1m domestically, and Disney's sequel had troubles of its own, stalling at $29m domestically, $47m worldwide.

Two films fled from the autumn of 1991, as BEAUTY AND THE BEAST looked to not be a repeat of RESCUERS DOWN UNDER, but a repeat of LITTLE MERMAID and OLIVER's successes... 20th Century Fox - who had FERNGULLY: THE LAST RAINFOREST - and The Samuel Goldwyn Company - who picked up ROCK-A-DOODLE - chickened, literally in the latter's case...

Only Universal had the guts to take on the beast... By releasing AN AMERICAN TAIL: FIEVEL GOES WEST the same day. The Don Bluth-less sequel made only $22m domestically, while BEAUTY AND THE BEAST made... $145m in North America alone, and blew up with $331m around the world...

After FERNGULLY and ROCK-A-DOODLE wisely fled from BEAUTY AND THE BEAST, they duked it out in April 1992. DOODLE opened the first weekend of the month, with FERNGULLY following. FERNGULLY won with $24m domestically, DOODLE struggled with $11m. (It's worth noting that DOODLE first came out in the UK in August of 1991.)

Universal initially thought they'd have WE'RE BACK! A DINOSAUR'S STORY ready to compete with ALADDIN, but they likely realized that that was not a great idea... WE'RE BACK! opened over a full year after ALADDIN and still flopped hard. It opened nearby BATMAN: MASK OF THE PHANTASM, which also made a paltry amount.

From there on out, things were typically spaced out. Sometimes the smaller efforts opened close to each other.

And now here we are, Thanksgiving week of 2023... We have trolls vs. wishing stars. Universal vs. Disney. It'll be fun to watch, but I hope the two film crews of both get to put food on their tables once more.

[katzell]

How I Met Your Father - Review

Seasons 1 & 2

First, know that I was there in the beginning. I watched How I Met Your Mother starting in season 3 and watched it as it aired until the very bitter end. Everyone has a show that disappointed them and let them down. But I honestly think that nothing compares to the horror of the last episode of HIMYM, because it made everything that came before it worse. Mayyybbee some LOST fans get it. But at least that finale wasn’t a character assassination in the name of one last smug trick. It was a rumination on love and humanity that allowed the characters a moment of grace in a world that denied it. HIMYM’s trashed seasons of character work for Barney and Robin and its own success in actually finding someone to play the Mother who was worth 11 seasons of waiting. But sure, wasn’t it clever they had footage of the kids before they grew too big saying the story was always about Ted loving Robin. Of course nothing that was filmed after season 3 really mattered.

I’m sorry to begin this way, but as Robin Scherbatsky and Barney Stinson appear in HIMYF, clearly in the between times, post divorce but before the titular mother’s horrible death, we have to talk about it.

I hadn’t meant to watch this show. Poor Chris Lowell will forever be Piz. The Veronica Mars trauma is another thing all together and others have written about that better. But as a lifelong Hilary Duff fan, I was curious to see her do a traditional adult sitcom.

In 2021, the pilot didn’t convince me. I agreed with reviews that said none of the characters acted or spoke like millennials. The side stepping of covid felt weird as well. Where HIMYM had a really eerie knack of conjuring NYC from LA, the reboot felt more soundstagey. I chalked it off as another mercenary move to mine IP and play on nostalgia.

But I guess this is why we live on Tumblr! Because the right gifset on your dash at the right time can make you reassess. And the right persons face can make you pause and go, I guess this is happening now.

In 2023, watching a comedy that was in fact pure shenanigans suddenly felt like a gift. As everyone reassess the changes in the US television industry, I hope distributors see the value in greenlighting shows like this again. I love my prestige comedies that want to incite anxiety attacks. But I also love seeing friends living in a city run around having madcap adventures. And I love a show that unabashedly wants me to ship characters and care about romance! Particularly the slow kind that works off dozens of episodes to establish.

And luckily for me, HIMYF has the very dreamy Sid, played by Suraj Sharma. I mean, who doesn’t at some point fantasize about a hot bar owner smart enough to go to [insert highly demanding profession here] but chose instead a cozy place where all their friends can hang. (See also New Girl). I need at least 3 more seasons, 20 episodes each, because I’m invested in the potential between he and Hillary Duff’s Sophie. Its nascent and yet so much more intriguing than Sophie’s other more obvious, but boring options. (Apologies to Chris Lowell’s Piz Jessie). Sophie and Sid have the easy charm to power a friends to lovers for the ages. And with his marriage on the rocks, and her dating his best friend, the melodrama is there too! The stupid concite of the show has its hooks in me again and I am definitely scared. You would be too if you saw the pathos and rawness Cobie Smuthers brings to her cameo. I’ve been kicked in the teeth before by this world. Neither of us are over it.

Fine, a brief word on Barney’s cameo. Awful. He talked about how he learned to respect women thanks to a special girl in his life. It was his fucking daughter and not Robin. I knew this and it still hurts. The electroshock pants weren’t funny. But I did like that he wouldn’t charge a nice girl for smashing his car if she had a fun enough story. That was the character I liked.

[msclaritea]

Hit Horror Movie Director Says He Won't Work With Warner Bros. After Coyote Vs Acme Debacle

A hit horror movie director has revealed he will not work with Warner Bros. following the controversy surrounding Coyote vs. Acme, indicating it will cost the studio hundreds of millions of dollars. The Looney Tunes film starring Wile E. Coyote was originally scheduled for release in 2023 before Warner Bros. announced it would be shelved in order to get a $30 million tax write-off. After public outcry, the studio allowed the film to be shopped to other distributors. However, this hasn't quelled distrust in the studio among Hollywood creatives.

Now, Brian Duffield, director of 2023's hit horror thriller No One Will Save You says he will not work with Warner Bros. after Coyote vs. Acme's release was cancelled.

The director indicated his decision not to work with Warner Bros. will result in the studio missing out on $300 million in profits. His statement underscores just how badly damaged the studio's reputation is because of their most recent tax write-down.

If the film manages to find success at a new home, then it will depict Wile E. Coyote hiring a lawyer to sue Acme Corporation for the defective weapons they sell him to catch the Road Runner with. Coyote vs. Acme's cast sees Will Forte as Wile and John Cena as Acme's CEO, highlighting how a talented cast brought the film to life. While the movie's future seems positive thanks to interest from other streamers, Duffield's comments indicate Warner Bros.' decision has lost it some goodwill with creatives.

The film's initial write-down from the studio isn't the first, with Batgirl and Scoob! Holiday Haunt being other prominent films that were shelved despite almost being complete. These decisions are tax-based, as Warner Bros. wants to ensure the studio's profitability, even if it means axing near-finished products. However, its most recent decision indicates any movie could be on the chopping block at any stage of development, making creatives wary of working with a studio that could cancel their finished film.

While Warner Bros. has averted collapse before, reports from employees in October 2023 indicated the studio could be bought out by a rival in the coming years. With distrust in the studio now being expressed by directors like Duffield, Coyote vs. Acme could be the first domino toward a radical shift for the company. It remains to be seen if other high-profile creatives share similar distrust of the studio, and what it could mean for its future.

[eddiebsps]

From Niche to Notable: Rise of Japanese Media in the U.S.

From Niche to Notable: Rise of Japanese Media in the U.S.

Just a few decades ago, Japanese media was confined to mostly niche audiences, with fans trading VHS tapes and DVDs at conventions. Today, the lay of the land has changed drastically. Streaming services like Netflix and Crunchyroll have extensive libraries of Japanese media for fans to watch and enjoy, while social media fosters the global communities.  

Even with the surge in visibility, many Americans still hesitate to engage with Japanese media. Accessibility has increased the opportunities for exposure, but cultural biases and unfamiliarity still shape how Japanese content is received in America.

Japanese media has seen much traction, especially among the younger generations. The use of DVDs in the early 2000s and more recently streaming services, has played a major role in bringing foreign content into American living rooms. Not all genres from Japan have the same level of popularity and success. While blockbuster anime like Attack on Titan and films like Godzilla Minus One have intrigued American audiences, earning over $57.1 million in the box office returns, setting a new record for a Japanese language film in America.There are other Japanese genres that struggle to find their mainstream appeal. The pattern shows that while Japanese media is more accepted and accessible than it ever was, the cultural preferences of Americans still determine what crosses over and what doesn't. 

DVD and Streaming: The Game Changer

The change started to begin with the boom of DVDs in the early 2000s. Stuart Galbraith IV, a film historian and author who has lived in Japan for over 20 years, emphasized how pivotal this time was. “The advent of DVDs in the early 2000s is the single biggest factor,” explained Galbraith. “Prior to this, the ‘foreign film’ sections of Blockbuster-type video stores typically consisted of 30-50 titles.” Japanese media that was previously available before DVDs usually came from small distributors and they were usually cropped and had poor visuals. DVDs offered a higher quality and broader array of content. 

Streaming services stepped on the gas even more. Crunchyroll, Netflix and even Hulu are a few streaming services that have a large selection of anime, dramas, and films—many of which are simulcast or subbed within a few hours of release in Japan. 

Genre Popularity and Its Limit

While streaming offers a wide variety of content, not all Japanese genres receive the same attention in the U.S. Anime remains the most dominant force with U.S anime market being valued at $8.29 billion in 2024, but there are live actions that have gained traction as well. The point about Japanese live actions gaining recognition is shown by Japan’s success at the Emmys. Japan has a record breaking achievement with the historical drama “Shōgun” earning major accolades.  

 “The most popular genres of Japanese cinema in the West are yakuza movies, chanbara and jidai-geki (swordplay and historical dramas, often about samurai), anime, and Japanese fantasy films, particularly kaiju eiga (giant monster movies),” Galbraith explained. Roland Kelts also gives more insight on Anime, “In the States, Japanese media has found its most success with Anime. Anime offers many different viewpoints, good vs. evil, fantasy, lighthearted, dark. It gives a new perspective on themes that Americans already know.”  

However, this popularity has been shown to have limits. Japanese romantic dramas, domestic comedies, and slower paced slice of life stories don't get the same traction with American viewers. Many of these genres are still “too foreign” to audiences that are used to Hollywood pacing, structure, and themes. Japan’s cultural exports are still filtered by the tastes of the American audiences and what aligns with their western lens.

Youth and Global Shift

The difference in generations also plays a role in who consumes Japanese media in the younger Americans. Millennials and GenZ are far more likely to be open to foreign content. Globalization, the internet and fandom culture all contribute to the media environment being more inclusive of Japanese media.

“There is far more interest in Japanese culture today than 40 years ago,” said Galbraith. “From what I can see, the younger generation is more open to experiencing Japanese culture generally, and I suppose that would include Japanese films and television.” The openness is not just shown in the entertainment business but even Japanese fashion and cuisine as well. 

Social Media: New Word of Mouth 

Social media has played a key role in the cultural outbreak. Platforms like TikTok, reddit, Youtube, and X give fans a space to recommend their favorite shows, promote hidden gems, and create viral trends about Japanese shows. “Social media generates so many subsets of specialized groups that share their affection and information about the accessibility of a particular genre or program,” Galbraith said.

The steady stream of content going through these platforms also creates an environment for someone to causally find a show that excites them. Someone scrolling through a thread about Adventure or Fantasy may find themselves seeing clips of Demon Slayer: Kimetsu No Yaiba

Or Black Clover. Japanese media no longer relies on traditional marketing strategies to reach the global audiences—it lives off peer-to-peer sharing. 

The Barrier of Cultural Familiarity

Despite the progress, resistance still persists. Many Americans are reluctant to engage in foreign media because it demands adaptation, like subtitles, cultural nuances and unfamiliar storytelling methods. 

Mr. Galbraith IV thinks that this mirrors how audiences react to an older film.  “A portion of the American audience is interested. However, the vast majority will always be resistant, in the same way they are resistant to black-and-white movies, or even movies more than 10 years old.” This shows that the growth of Japanese media is not limited by availability but by the comfort zone of viewers. 

Closing Thoughts

Japanese media has made it a long way in America, from being a niche subculture to a widely acknowledged part of pop culture. With streaming and social media helping broaden its reach, especially among the younger audiences. Still, a good amount of American viewers remain resistant, sticking to more familiar formats and genres. While anime has cemented itself in American culture, other genres still struggle to break through. Whether or not Japanese media will become fully mainstream in America—or remain a respected but somewhat niche interest—is yet to be seen. What is evident is that the foundation for growing curiosity and cultural exchange has already been set.

[wfcn-co]

How to Choose the Right Film Festival When the List Feels Endless

In today’s vibrant film industry, filmmakers face a daunting challenge: selecting the right Film Festival from a seemingly endless array of options. With thousands of film festivals worldwide, each offering unique opportunities, how do you navigate this complex landscape to find the perfect Film Platform for your creative work?

Understanding Festival Tiers

Not all film festivals are created equal. Top-Tier Film Festivals like Cannes, Sundance, and Toronto offer prestige and industry exposure but come with fierce competition. Mid-tier festivals often provide a better balance of accessibility and recognition, while smaller regional Film Festivals might offer more personalized attention and community engagement.

Align with Your Film’s Identity

Consider what your Film represents. Is it an experimental art piece, a genre-specific narrative, or a documentary with social impact? Research festivals that historically showcase and celebrate similar films. Many Film Festivals develop reputations for specific niches—understanding these preferences increases your chances of acceptance and finding your ideal audience.

Evaluate Industry Presence

The value of a film festival often lies in its networking potential. Research which industry professionals typically attend. Film Distributors, film producers, and agents frequent certain festivals specifically to discover new talent. A festival with strong Film Industry Connection can transform your career trajectory, providing valuable connections that extend beyond the screening room.

Consider Audience Engagement

Some Film Festivals excel at creating meaningful interactions between filmmakers and audiences. These connections can provide valuable feedback, build a fanbase, and even generate word-of-mouth promotion. Look for film festivals that organize Film Industry Q&A Sessions, workshops, and social events that facilitate these exchanges.

Practical Considerations

Don’t overlook logistics. Submission fees, travel expenses, and time commitments vary widely. Create a submission strategy that balances aspirational Film Festivals with those more likely to accept your work. Many Filmmakers use film platform services to streamline submissions and track deadlines.

Research Past Successes

Study the Film Festival Journey of films similar to yours. Which festivals launched their success? Where did they find Film Distribution Deals? This research can reveal patterns and opportunities specific to your genre or style.

Remember, the “right” festival isn’t necessarily the most prestigious—it’s the one that offers the best opportunity for your specific Film to connect with its intended audience and advance your goals within the film industry. By thoughtfully selecting Film Festivals that align with your creative vision, you maximize your film’s potential impact and take a strategic step forward in your filmmaking journey.

[cavegirlpoems]

You make a post venting about your frustrations with the animation industry on tumblr.com, using a sarcastic analogy about Dungeons and Dragons. Somebody replies that finding cartoons that aren't Family Guy is just too hard and nobody is willing to down and watch other cartoons with her. It seems that she's somehow nine seasons into Family guy and has barely looked at the screen in that time; certainly, she doesn't seem willing to just sit down and watch the visuals of a new series. She casually implies that fans of indie animation are all wildly sexist, and this is what puts her off. As it happens, you put out a positively recieved queer feminist short film a few years ago, and put a lot of yourself into it. Somebody in her replies (you suspect they're familiar with your work) mentions this very film, and says she might like it! She doesn't respond. It's fine. Your work isn't going to be to everybody's taste. Somebody else in the conversation brings up your friend's short film, that does similar stuff and came out around the same time as yours, but got picked up by a mid-sized distributor. People say it sounds cool. You saw it. It was fine, but despite how much people compare the two it feels totally disconnected from your own work. You wish your work could get discussed on its own merit without being overshadowed by your friend's film, that always gets brought up as a point of comparison. You hate the stab of jealousy you feel every time this happens. You wish you could just be uncomplicatedly happy for your friend's mild success. You check your youtube account. No new subscribers today.

So, I'd like you to imagine a world where watching cartoons had become suddenly super popular over the course of a few years. Huge burst in popularity. Suddenly everybody's talking about animation. Except: -Most of those new viewers only watch Family Guy, and a good chunk of older viewers stopped watching anything except Family Guy. -Most of these new viewers have got into the habit of just listening to the audio of Family Guy, 'cos the actual animation's kinda ugly, and normally just turn the screen off and listen to the cartoon like a podcast. -These new viewers, whenever they try watching any new animation - from Bob's Burgers to Cowboy Bebop - turn the screen off and just listen to the audio, and then don't understand why these shows are any different and go back to Family Guy because it's familiar. Imagine being an animator in this world. Imagine pouring your soul into the craft of making a drawing move and emote and live, the hours of painstaking effort taken over animating a single scene. Imagine talking to supposed fans of animation who don't even bother looking at the screen to see what you've produced. Imagine making a film like Redline, a celebration of visual art and an absolute technical slam-dunk, and it flops because it's a visual medium and nobody has their screen turned on, and people go back to talking to you about Family Guy with the screen turned off.

This is what it often feels like being a designer of tabletop games in 2024. Why yes, I *am* salty.

[ag2006-blog-23830261]

WRITTEN ESSAY

I had a clear idea: I wanted to talk about the impact of the People’s Choice Awards on Independent Films at Film Festivals. I first researched the subject and came across a research paper about marketing, which explained the significant impact of word-of-mouth for (essentially free) publicity and how it influences our decisions on what movies to watch.

I started building my first argument:

Audience choice awards at film festivals act as a powerful catalyst for independent films to gain mainstream recognition by harnessing the influence of word-of-mouth and impacting distributors.

I went deep into it, but once I had a rough draft (around 1,300 words), I struggled to find more resources, and the focus on the People’s Choice Awards was getting lost. I received feedback on the draft from my professor, who pointed out that it needed more quotations.

So, I decided to take a risk and rewrite my argument to something like this:

Audience choice awards at TIFF significantly impact the global success of independent films by enhancing their visibility, securing distribution deals, and influencing cultural discourse.

I now feel more confident about it, as I’ve found plenty of resources to support my arguments and I plan to do a case study of TIFF which has a great number of examples.

[dcpl73]

Dubbing or Subtitling: Which Reigns Supreme in International Media?

In the world of entertainment, be it national or international, one of the most crucial decisions content creators and distributors face is whether to subtitle or dub their media when targeting global audiences. While both options aim to make audiovisual content accessible to viewers who speak different languages, they offer distinct experiences and present new challenges. The choice between subbed (subtitled) and dubbed (voice-over) content is often influenced by cultural preferences, the type of content, and the specific market in question.

In this blog post, we’ll explore the differences between subbed and dubbed content, the advantages and disadvantages of each, and how to choose the right audiovisual translation service for your global audience. Sounds interesting? Let’s get started!

WHAT DOES SUBBED AND DUBBED MEAN?

Before getting into the debate, let’s clarify the terms:

Subbed: Subtitles are textual translations of the spoken dialogue in a film or TV show, usually displayed at the bottom of the screen. Viewers still hear the original audio (in the source language) while reading the translation (in the target language).

Dubbed:This involves replacing the original voice with new ones speaking in the target language. The original audio is either muted or replaced, and the new dialogue is synchronised to match the lip movements of the characters.

Now that we’ve defined the two, let’s examine the factors that influence the decision to subtitle or dub your audiovisual content.

1.CULTURAL PREFERENCES: THE BATTLE OF SUBTITLES VS. DUBBING

One of the main factors driving the decision between subbed or dubbed content is cultural preference. Different countries have different attitudes towards subtitles and dubbing, and understanding these preferences is key to ensuring the success of your content.

Subbed: The Preference in Many European and Asian Countries

In many parts of Europe, particularly in Scandinavia, the Netherlands, and Germany, subtitled content is widely preferred. Audiences in these regions are accustomed to watching foreign films and TV shows with subtitles and often find them more authentic. Subtitles allow viewers to hear the original voice acting, which is considered integral to experiencing the content as it was intended.

In Asia, countries such as Japan and South Korea also favour subtitles, particularly when it comes to animated films and TV series (anime and K-dramas). Subbed content offers an unaltered experience, allowing audiences to appreciate the original nuances and emotions conveyed by the voice actors.

Dubbed: Common in Many Parts of the World

In contrast, dubbing is the preferred method of content localisation in many Latin American and European countries, such as Spain and Italy, where audiences tend to be less familiar with reading subtitles. Dubbing is also very popular for children’s television, where young viewers may struggle to read subtitles quickly enough.

For countries such as the United States, the United Kingdom, and parts of Eastern Europe, the decision between dubbed and subbed often depends on the genre and the target demographic.

2.THE IMPACT ON VIEWER EXPERIENCE

The choice between subbed and dubbed content can significantly affect the viewer’s experience. Let’s explore how each option impacts the way audiences engage with the media.

Subbed: Preserving the Original Experience

One of the key advantages of subtitled content is that it preserves the integrity of the original performance. The viewer hears the actors’ voices, which often convey subtle emotions, inflections, and cultural nuances that might not be fully captured in a dubbed version. For many, hearing the original voice acting is an integral part of the authentic experience.

However, subtitles can be a distraction for some viewers. Reading subtitles while watching action sequences or fast-moving dialogue may lead to missing out on visual elements.

Dubbed: Improved Accessibility and Comfort

On the other hand, dubbing simply offers a more seamless viewing experience, especially for those who are not accustomed to reading subtitles. This is particularly beneficial for those who want to focus entirely on the visuals and avoid reading text while watching the content. Dubbing is also an excellent option for younger audiences or individuals with reading disabilities, as it makes the content more accessible.

However, dubbing does come with its own set of challenges. One major issue is that dubbing can lose the emotional depth and authenticity of the original performance. The voice actors in the dubbed version may not match the tone or delivery of the original, which can lead to a disconnection for viewers familiar with the source material. Lip-syncing can be a complex task, and sometimes the dubbed lines don’t quite match the movements of the characters’ mouths, which can be distracting.

3.SPEED AND COST OF PRODUCTION

The production process for both subbed and dubbed content varies in terms of time, effort, and costs.

Subbed: Quick and Cost-Effective

Subtitles are typically quicker and more cost-effective to produce than dubbing. Translators work directly from the script and can produce subtitles faster than dubbing a whole track with professional voice actors. The process of syncing subtitles to the video is relatively straightforward compared to the technical complexities of dubbing.

For businesses and content creators working on a tight budget or deadline, subtitling is often the more practical solution. It allows for a quicker turnaround time, especially when targeting multiple languages.

Dubbed: A Lengthy and Expensive Process

While often preferred for certain regions and demographics, dubbing is more time-consuming and expensive. It involves casting voice actors, recording and synchronising dialogue, and ensuring that the new track matches the original video’s lip movements. Moreover, dubbing requires additional post-production work to make sure the final product sounds natural in the target language.

For content creators looking to invest in the best possible experience for their audience, dubbing might be the right choice. However, for those with budget constraints or tight schedules, subtitling is often the go-to solution.

4.THE BEST OPTION FOR YOUR GLOBAL AUDIENCE

Choosing the right audiovisual translation service is essential, but it’s equally important to ensure it aligns with your audience’s needs and preferences. When deciding between subbed and dubbed content for a global audience, consider the following factors:

Target Audience

What is the demographic of your audience? Are they accustomed to reading subtitles, or would they prefer the convenience of dubbed content? This is especially important for children’s programming and fast-paced genres such as action films.

Cultural Preference

Some languages and cultures may have specific expectations when it comes to the viewing experience. Research your target market thoroughly to ensure that the chosen method aligns with their preferences.

BUDGET AND TIME CONSTRAINTS

If you’re on a tight budget or timeline, subtitling may be a more cost-effective and efficient choice. Dubbing is ideal when there is more flexibility in the production process.

CONTENT TYPE

The genre and nature of the content also play a role. For animated films, children’s TV, or comedy content, dubbing might be preferred. However, for drama, art films, and content where the actor’s original voice is key, subtitling is preferably the better option.

FINAL THOUGHTS

Whether you choose to subtitle or dub your audiovisual content, the most important thing is that your decision aligns with the preferences and expectations of your target audience. Both options have their benefits and drawbacks, and in some cases, the best solution may be to offer both—subtitles for those who prefer an authentic experience and dubbing for those who want convenience.

At Language Services Bureau, we specialise in professional audiovisual translation services, helping you bring your content to audiences worldwide with precision and cultural sensitivity. Whether you need high-quality subtitles or expert dubbing, our team is here to support your global outreach.

Let us help you tackle the complexities of language and culture so you can connect with audiences around the world.

Learn how our audiovisual translation services can boost your global content strategy by contacting us today!

Tagged with: 

LANGUAGE

INDUSTRIES

GLOBAL TRANSLATION

LOCALIZATION

For any queries related to language translation services. Inquire at our email address below or give us a call today! info@languageservicesbureau.com

Telephone: +91-20-24470509, +91-82370 60559

Or, connect with us on Facebook or Linkedin!

[delivermytuneo6]

How to Monetize Music Video Distribution on Apple Music

In the modern music industry, monetization is a key driver of success for artists and creators. Apple Music, a platform synonymous with high-quality streaming, has become a go-to destination for music video distribution. Beyond its ability to connect artists with global audiences, Apple Music offers robust opportunities for monetization. Understanding how to tap into these revenue streams effectively can significantly enhance an artist’s earnings. In this article, we’ll explore the strategies and tools available for monetizing music video distribution on Apple Music.

Understanding the Apple Music Ecosystem

Apple Music operates as a subscription-based service, offering millions of users access to a vast library of music and videos. Unlike platforms like YouTube, which primarily rely on ad-based revenue, Apple Music’s monetization model focuses on payouts generated from user subscriptions. For artists, this translates into earnings based on the number of streams their content accumulates.

When it comes to music videos, Apple Music treats them as premium content. This positioning opens up unique opportunities for artists to engage their audiences and generate revenue. However, to fully capitalize on these opportunities, understanding the distribution process and optimizing your content is critical.

Steps to Distribute Your Music Videos on Apple Music

Choose the Right Distributor To get your music video on Apple Music, you’ll need to partner with a distributor. Companies like TuneCore, DistroKid, and CD Baby offer distribution services, enabling independent artists to upload their videos to Apple Music and other platforms. These services usually charge a fee or take a percentage of your royalties.Ensure that your chosen distributor supports video content, as not all aggregators specialize in music video distribution.

Meet Apple Music’s Technical Requirements Apple Music has strict technical specifications for music videos. These include high-definition resolution, proper formatting, and accurate metadata. Submitting content that meets these standards ensures smooth approval and enhances the chances of being featured on the platform.

Set Up Proper Metadata and Credits Metadata is crucial for monetization. Accurate metadata ensures that royalties are directed to the right parties, including producers, songwriters, and featured artists. Proper metadata also enhances discoverability, making it easier for users to find your videos.

Revenue Streams for Music Videos on Apple Music

Streaming Royalties The primary revenue source for music videos on Apple Music comes from streaming royalties. Artists earn a share of subscription revenue based on the number of streams their content receives. While the payout rate may vary depending on factors like region and licensing agreements, Apple Music generally offers competitive rates compared to other streaming platforms.To maximize earnings, it’s essential to focus on driving views and engagement. High-quality visuals, compelling storytelling, and well-crafted marketing campaigns can significantly boost your streams.

Exclusive Releases Apple Music frequently partners with artists for exclusive releases, which can be a lucrative opportunity. Exclusive content often receives prominent placement on the platform, such as featured spots on the homepage or curated playlists. This visibility can drive higher streaming numbers and, consequently, higher earnings.To secure an exclusive release deal, consider reaching out to Apple Music’s editorial team through your distributor or label.

Sync Licensing Opportunities Music videos distributed on Apple Music can also lead to sync licensing opportunities. Sync deals involve licensing your music and visuals for use in films, TV shows, advertisements, and other media. While not directly tied to Apple Music, the platform’s visibility can attract industry professionals seeking fresh content.

Merchandising and Cross-Promotion While Apple Music itself doesn’t offer direct merchandising opportunities, artists can use the platform to drive traffic to their online stores. Music videos are a powerful promotional tool for showcasing merchandise, concert tickets, and other products.

Strategies to Maximize Revenue

Optimize Your Release Strategy Timing is everything when it comes to music video distribution. Analyze your audience’s behavior using analytics tools provided by your distributor or Apple Music itself. Understanding when your fans are most active can help you schedule your release for maximum impact.Additionally, consider coordinating your music video release with an album drop or major event to generate buzz.

Leverage Social Media and Marketing Apple Music’s internal promotion is valuable, but you can amplify your reach by promoting your music videos on social media platforms. Use snippets, teasers, and behind-the-scenes content to create excitement. Collaborate with influencers and fellow artists to broaden your audience.

Invest in Quality Production High production value is critical for attracting viewers and standing out in Apple Music’s library. While this may require a larger upfront investment, the potential returns in terms of streams, royalties, and branding make it worthwhile. Partner with skilled directors, cinematographers, and editors to ensure your video meets professional standards.

Engage with Fans Engaging with your audience can lead to increased loyalty and repeat streams. Host live Q&A sessions, share fan reactions, and encourage viewers to share your video on social media. Personal connections often translate into higher engagement and sustained revenue.

Tracking and Analyzing Performance

To maximize your earnings, it’s essential to track the performance of your music videos. Apple Music offers analytics tools that provide insights into key metrics, such as:

Number of views and streams

Audience demographics

Engagement trends

Use this data to refine your distribution and marketing strategies. For example, if you notice a surge in views from a specific region, consider targeting that area with additional promotional efforts.

Challenges and How to Overcome Them

While Apple Music offers significant monetization potential, artists may face challenges such as competition and high production costs. Here’s how to address these issues:

Competition: Focus on creating unique, high-quality content that resonates with your audience.

Production Costs: Start small with creative yet cost-effective ideas, and reinvest earnings into more elaborate projects as your revenue grows.

Discoverability: Partner with influencers, leverage social media, and explore Apple Music’s editorial opportunities to boost visibility.

Conclusion

Monetizing music video distribution on Apple Music is a multi-faceted process that requires strategic planning and execution. By choosing the right distributor, optimizing your content, and employing effective marketing strategies, you can unlock significant revenue potential. Apple Music’s premium user base, coupled with its focus on high-quality content, makes it an ideal platform for artists looking to turn their creative efforts into financial success. Embrace these opportunities and watch your music career thrive.

[allthenewzworld]

"I think [Donald Trump] should be grateful, to be honest."

That's what Sebastian Stan said about The Apprentice - a new controversial film about the former US president's life.

The film is set in the 1970s and 80s, when Trump, who is played by the Marvel star, was beginning to make his name as a businessman in New York.

It focuses on his relationship with lawyer and mentor Roy Cohn, played by Succession's Jeremy Strong.

The movie struggled to find a distributor in the US and its director has described the process of making and releasing it as "the most challenging thing I've ever done".

Tap the link in our bio to read how Donald Trump reacted to the film.

(📸 StudioCanal UK/Getty)

#SebastianStan #Donald Trump #allthenewz