当我们在谈论国际电影节的时候，我们在谈论什么？
2022｜ PLUS ONE 线上课程
International Film Festival and Market Circuit
国际电影节及电影市场基础
课程导言
International Film Festival and Market Circuit——聚焦于国际电影节和电影市场，我们试图全面并有针对性地介绍全世界范围内比较重要的电影节和电影市场有哪些，深度解析其历史、偏好影片的风格质感和电影商务的基础知识。对于想要让自己作品在电影节有所斩获的年轻电影人，了解电影市场的交易是如何运作的尤其重要。Sydney是我在University College London（伦敦大学学院）念研究生时修【国际电影节】课程的导师，当时作为柏林电影节天才训练营的导师Sydney作为向导带领我们参观了柏林电影节的欧洲电影市场，这也启蒙了我之后数年从事国际发行的工作。
Sydney目前定居在柏林，1975年担任20世纪福克斯国际电影发行的职位至今，已在国际电影行业从业四十余年。作为买片、发行人全年参加各个节展，同时她也作为圣丹斯、戛纳多等电影节的顾问导师。在这个模块中，除了干货知识，Sydney也加入了很多她个人实际的经验分享，希望年轻影人可以利用好电影节和电影市场的平台，拓展本土之外的全球视野。如今疫情给全球电影节展带来的影响还在持续中，我们也希望与时俱进对课程内容做相应的调整和补充。
第一课 The International Film Festival and Market Circuit 国际电影节及电影市场课程介绍 （免费试听）
以下是付费内容
第二课 Overview of the International Film Circuit 国际电影节周期概览
第三课 Language of International Film Business 国际电影商务用语
第四课 Origin of Film Festivals 电影节的起源
第五课 What are Festivals for Today? 如今的电影节是什么样？
第六课 Cannes Film Festival and Market 戛纳电影节与市场
第七课 Berlinale and EFM 柏林电影节与市场
第八课 Venice Film Festival 威尼斯电影节
第九课 American Film Market (AFM) 美国电影市场
第十课 Toronto International Film Festival (TIFF) 多伦多电影节
第十一课 Sundance 圣丹斯电影节
第十二课 Tribeca and SXSW 翠贝卡与西南偏南电影节
第十三课 Other Regional Film Festivals 区域性电影节
第十四课 Documentary Film Festivals 纪录片电影节
第十五课 Short Film Festivals 短片电影节
第十六课 Animation Film Festivals 动画电影节
第十七课 Genre & Niche Festival 类型片小众电影节
第十八课 Niche Festivals: Women 小众电影节之女性电影节
第十九课 Final Tips 结语
适用人群
影迷、对电影节文化充满兴趣的电影爱好者，以及青年电影从业者，比如希望带着自己的作品参加电影节的青年导演、其他电影节选片工作者，或有其他需求的选片人员等等。
特别鸣谢
University College London
伦敦大学学院
翻译：李熙赟
剪辑 & 校对：周佳
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The International Film Festival and Market Circuit
国际电影节及电影市场基础 Unit 1
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国际电影节及电影市场介绍
The International Film Festival and Market Circuit
Hi, I am Sydney Levine, and I am going to present a course called International Film Festival and Market Circuit.
大家好，我叫西德妮·莱文，我要带来的课程是“国际电影节及电影市场”。
The aim of this course is to give an overall and comprehensive understanding of film festivals around the world, an in-depth analysis and introduction of key festivals and their markets.
课程目标：完整、全面地介绍世界范围内的电影节概括，以及针对主要电影节与其市场的深度解析。
The target audience are Cinephiles, people who are interested in film festival culture and young professionals i.e. filmmakers who want to attend festival with their own works or to program other film festivals and curate films for other purposes.
目标听众：影迷、对电影节文化充满兴趣的电影爱好者，以及青年电影从业者，比如希望带着自己的作品参加电影节的青年导演、其他电影节策展工作者，或有其他需求的策展人员等等。
What is the film value chain and why is it important？
什么是电影产业价值链？它为什么重要？
Let me explain the film value chain in this way.
让我这样来介绍何为电影产业价值链：
There are six links in the chain. On reaching the seventh link, you get to rest because that is the clasp that joins Link Number 1, the film, to Link Number 6, the money (or, the so-called “value”).
它由六个环节组成，当你来到“第七环”的时候，就是整个价值链中最令人放松的闭环了，也就是将第一环“电影”与第六环“收入”（也叫“价值回报”）勾连在一起的一步。
Link Number 1: The first link is the film itself. It cost money to make it, even if it was “just government money” and not money you had to work hard to raise yourself. Money for people working on it – actors and crew, money for writing it, money for the shooting, editing, money for the food needed to keep everyone happy, money for the marketing, money for hiring outside consultants: all these and more should be built into the budget of the film.
第一个环节是电影本身。制作一部电影需要资金投入，即使它是一部“由政府全权出资”，而无需你自己辛苦筹钱的电影。制作人员，包括演员和其他成员需要工资，撰写剧本需要稿酬，电影拍摄、剪辑需要资金投入，还要有能让大家满意的食品开支，甚至是上映后的营销、为公司雇用外部的商业咨询团队的费用，所有这些，甚至还有其他，都应该被考虑到电影预算之中。
The value of these must be considered as a proper budget which needs to be recouped and repaid even if such recoupment and repayment is not required. Why? Because it helps make you a reputable filmmaker whose films can be commercial and can get distribution and consequently will be seen by a lot of people. There has to be a return on the investment.
即使这些投入中有些是无需抵扣或偿还的，它们也都必须被恰当地纳入预算，并且计算在最后的销售阶段如何回本。为什么要这样？因为这样会使你成为一个可以用电影赚钱、可以得到发行机会并且让更多人看到你的作品的受人尊敬的导演。而这一切的前提是投入电影的资金都有所回报。
Link Number 2: The Trade. Who will see this film? What is the “best” audience to have in order to make the money back that it cost to make the film plus a profit to reinvest to make the next film?
第二个环节，电影交易。谁会看这部电影？怎样的观众才是对于既要回收成本又要赚够下一部电影的本金这一目的来说“最好”的观众群体？
Who is “The Trade”? The trade is industry people like international sales agents (which I also call ISA because it’s shorter) and distributors who will pay money to acquire the film to show to the paying public in their territories. Or agents who will represent the filmmaker, writer, actor etc. and take 10% of what they make. Or other producers who will coproduce the next film.
谁又是“交易人员”？这些电影商务人士很多来自各大国际销售代理，我也简称它们为ISA，还有购买了电影在其业务地区内的放映权的发行方，以及一些代表了导演、作者、演员等等，并从这些人的收入中拿走10%（大概的比例）的经纪公司，或者还有其他一些会在下一部电影联合制片的制片人。
Link Number 3: The Event. Where should the film be seen first in order to get the best industry audience? A festival or a market? Which festival or market is the best one for your film? How do you get your film into the (first) festival?
第三个环节是电影放映活动。 电影应该在哪里首映才能获得最好的业内曝光？在电影节还是在电影市场？哪一个电影节或电影市场是对你的电影来说最好的选择？怎样才能让你的电影入选第一个电影节？
Link Number 4: The Deal (Your contract with the Industry). How will the professional industry represent your film to the public? What is the marketing plan? How much money will be spent marketing to be reimbursed before you get paid? How will you get reimbursed? Can you get some money in advance or as a minimum guarantee? How much can you expect?
第四个环节则是签订合同。专业的电影商务人士怎样将你的电影带给大众？营销计划是什么样的？在你真正得到收益之前要先垫付多少市场营销费用？你怎样拿回这笔钱？你的部分收入会被提前支付还是先得到一个保底价？你期望它有多少？
Link Number 5: The Paying Consumer Audience. Who are the targeted viewers? What is the marketing plan to reach them? Where will they watch the film - theaters, exclusive streaming, secondary streaming platforms, non-theatrical?
第五个环节，观众消费。谁是目标观众？营销计划如何触及他们？他们会在哪里观看这部电影？影剧院还是独家线上放映、次级线上放映这些非院线平台？
Link Number 6: The Revenues. Where do the first monies come from? The international sales agent (ISA)? The Distributor? The Theatrical Audience? The Online Consumer? The Institution or Non-Theatrical Audience? The Airlines and Ships at Sea? Schools, Universities, Armed Forces Bases? Where do the final consumer dollars or yen or euros come from?
第六个环节是获得收入。第一笔钱从哪里来？ISA？发行方？院线观众？线上观众？机构或非院线观众？航空和海轮？中小学、大学甚至军事基地？最后一批观众付的钱都从哪里来？
Link Number 7: The clasp that joins the film to the money. Your Revenue Share.
最后是将“电影”与“收入”联系起来的闭环，你的收入分成。
The money is made and needs to connect to the source. The mechanism and fulfillment for this is all in the contract made between the parties and the honesty of those involved in upholding the contractual terms. (Your original contract with the ISA or any other selling representative defines your payment schedule and your share.
此时资金已经得到了回收，那就必须按照来源进行分配。这一机制与其履行规则一早就由合同规定好了，并且这份合同必须在制定时就基于各利益方诚实互信、一诺千金的原则。你与ISA或其他销售代表的原始合同将最终确认你的收入分成金额与获取时间。
How do you get your money? When do you get your money? How much of the money should you, the filmmaker, make back? What’s the deal?
怎样拿到属于你的这笔钱？什么时候拿到？你作为导演该从一部电影里拿回多少钱？这笔分成数目怎么谈？
That is why every filmmaker needs an attorney with lots of experience in making movie deals from the first to the last agreement the filmmaker makes.
这也是为什么每个导演都需要一个经验丰富的律师从旁协助每一份合约的签订，从第一份到最后一份。
Now if you are a cinephile, watching the revenues, the box office, the streaming platforms is something like watching a horse race. Does your bet on how much the film will gross match the reality?
现在假设你是一个影迷，看着电影收入、票房排行、线上播放平台的数字就好像是在看一场赛马一样，你会怎样赌一部电影能不能回本呢？
If it doesn’t match, you need to recalibrate so that you will come to understand the nature of filmmaking and film business.
如果它最后没有回本，你就需要重新想一想这背后的电影制作与商业运作的逻辑了。