Film Budget | European Film Festival in China 2011


Europe is marketing its movies to China and apparently, the Chinese are loving it!


Such is the success of the annual European Union Film Festival in China that the event, which is now its fourth year, could be expecting greater numbers than ever before!  Last year, the event expanded to showcase films in three Chinese cities and according to EU Ambassador Markus Ederer, the number of moviegoers increased from 5,000 attendees in 2008 up to 13,000 in 2010.


What: European Union Film Festival


When: November 1st – 30th 2011


Where: Beijing and two other cities in China (TBA)


The film festival, organized by the Delegation of the European Union to China and supported by the Embassy of Poland,  invited all 27 EU Member States to showcase one recent, popular and successful film.


The organizers of the festival hope that the event will increase the appreciation of European films and culture among the Chinese, hence paving the way for the possibility of importing European movies into China in the future.


The films screened at this year’s festival include a diverse mix of local flavors and a wide-range of genres from comedies and dramas to documentaries. Moviegoers can view their films of choice in commercial theatres as well as in cultural institutions.


Among this year’s selections are some of the following European picks:


France – “The Piano Turner”


Denmark – “Aching Hearts”


Italy – “20 Cigarettes”


Portugal –  “Beauty and the Paparazzo”


Each film is screened in its original language with English and Chinese subtitles.


Meanwhile, the European Film Academy has unveiled its nominations for the 2011 European Film Awards. You can see a full list of the nominees on their official website –


Winners will be announced in a December 3rd ceremony in Berlin.




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Film Budget .com | American Film Market (AFM) 2011 Film Finance and International Sales Roundup

American Film Market (AFM) 2011 Round-Up


The 2011 American Film Market is winding down at the moment and as promised, this year’s event is proving to be quite a success!   Though film financing remains a difficult proposition, projects with the right combination of well known talent, directors and strong marketing prospects funding is on the rise in combination with lenders, equity, gap,  film tax credits, co-productions, government funding and incentives.   The market is indeed hungry for quality films to distribute with solid packages, a film budget with a reasonable recoupment potential and name talent is the constant mantra.


Here are a list of some the deals that were made at this year’s AFM:  (updates forthcoming as we write)


* IM-Global takes rights to ‘The Sister’ for Europe, Latin America


* Universal Pictures International Entertainment has picked up rights to Content Film’s ‘Hard Boiled Sweets’ for the UK, Australia, New Zealand, Benelux and Scandinavia


* Drafthouse Films has picked up crime drama ‘Bullhead’ and raucous comedy ‘Clown’, for distribution in North America


* Sony Pictures Worldwide Acquisitions has picked up domestic distribution rights to ‘Bel Ami’, from Protagonist Pictures. The company also picked up comedy ‘Bailout’ starring Jack Black, for multiple territories including North America, South America and Scandinavia.




* FiGa Films has picked up ‘The Last Christeros’ (Los ultimos cristeros) by Matias Meyer, which had its world premiere in Toronto Film Festival (link to blog on Toronto Film Festival), and ‘Machete Language’, directed by Kyzza Terrazas, which had its world premiere in Venice.


* FilmDistrict has acquired ‘Drive’ the Nicolas Winding Refn-directed film adaptation of James Sallis’ suspense-themed novel


* Sierra Pictures announced the acquisition of ‘Rampart’, a crime thriller starring Woody Harrelson. The company also picked up comedy ‘Darling Companion’, which stars Kevin Kline, Diane Keaton.


* Tiberius Film has picked up a trio of horror sequels – ‘Piranha 3D’, ‘Children of the Corn: Genesis’ and ‘Hellraiser: Revelations’ for the German market.


* Exclusive Media Group picks up international rights for ensemble drama ‘Disconnect’


* Lightning Entertaiment picked up 7 films including ‘Brake’, ‘Columbus Circle’ and ‘Wrath’, making their world premiere debut at the AFM. The other films are ‘Boy Wonder’, ‘Bloodwork’, ‘The Trouble with Bliss’ and ‘Scents sand Sensibility’


* Wild Bunch acquired the international rights to Academy-Award winner Geoffrey Fletcher’s directorial debut ‘Violet & Daisy’


* Los Angeles-based film production, financing and foreign-sales company Unified Pictures has entered into a three-movie deal with Vancouver-headquartered production-finance group Bron Studios




Announcements of major financings include:


* Exclusive will finance Matt Damon’s ‘Yesterday’ with Focus Features handling U.S.


* Endgame Entertainment announced the creation of Endgame Releasing, to provide as much as $500 million in funding for marketing and distribution of four to six wide release movies per year through major studios. One of the first movies to tap into the fund will be the movie ‘Looper’  starring Joseph Gordon-Levitt and Bruce Willis.


* W2 Media has come on to co-finance and distribute ”The Theatre Bizarre 2,” a sequel to Severin Films and Mataluna Prods.’ ”The Theater Bizarre” horror anthology.


* Green Isle Entertainment has entered into an initial $60 million dollar multiple picture financing agreement for film budgets with Allegiance Capital Corp.


* IM Global to finance $20 million action-drama ‘Hummingbird’.


These are just a few of the ‘official’ announcements. With the AFM still underway, many more similar announcements are anticipated in the coming days. With deals being made fast and furious – don’t miss your chance to catch a piece of the  action! For more information on this year’s AFM, check out the blog on is the international leader in worldwide film budget and schedule line producer film budgeting production services.  Film finance and camera ready movie budget and schedule packages.


Top 10 Movies with the Highest Film Budget

The top ten movies that have the highest film budget for their production costs are listed below.  These production costs do not included marketing, finance costs, prints and advertising (P&A) or distribution costs.  The figures represent production film budgets only.


Top 10 Movies with the Highest Film Budget

Film                                                                Film Budget         Release Date

  1. Pirates of the Caribbean: At World’s End       $300 Million            2007
  2. Tangled                                                       $260 Million            2010
  3. Spider-Man 3                                               $258 Million            2007
  4. Harry Potter and the Half-Blood Prince          $250 Million             2009
  5. Avatar                                                        $237 Million             2009
  6. The Chronicles of Narnia: Prince Caspian      $225 Million            2008
  7. Pirates of the Caribbean: Dead Man’s Chest  $225 Million            2006
  8. X-Men: The Last Stand                                $210 Million            2006
  9. Superman Returns                                       $209 Million            2006
  10. King Kong                                                   $209 Million            2005

The numbers above are estimates of the film budget for the specified motion pictureproduction.  The production film budgets listed are sourced

from publicly available information including Variety, The Hollywood Reporter and IMDB.




How Do I Get a Film Budget?

For many years it was not readily known how one goes about getting a film budget for their movie production.   Jack Binder, Producer of ‘Reign Over Me’ and ‘The Upside of Anger’ realized a gap in this realization back in 1997 and sought to make available for fellow filmmakers a film budget process whereby they could get a film budget for their project.  Jack Binder created the first online film budget production service.

Jack continued to evolve the concept but the basic working structure was that a film budget would be required in order for a director, actor, writer or producer to embark on obtaining film financing for their film production.  By using his extensive experience in creating motion pictures and likewise film budgets for all of his movies and television shows, Binder realized that he should have a ready answer for the many co-production partners, film finance executives, bank lenders and major studio executives who were approaching him about creating a film budget and schedule for their productions.

Finally it really hit home when reworking a film budget over and over again, that it became very evident that the process and knowledge involved was fundamental to receiving that elusive of all treasures, the Greenlight.  Through an ability to respond to questions and by knowing his film budgets inside and out, and through meticulous film budgeting experience Jack was able to remove the obstacles to getting the film into production.

Contact for an accurate and proven film budget for your production – and get that greenlight!


Michigan Film Tax Incentives Economic and Fiscal Impact Report

Ernst & Young just released their analysis of the film tax incentives program in Michigan.    It is titled “Economic and Fiscal Impacts of the Michigan Film Tax Credit” February 2011.

The report was commissioned by the Detroit Convention and Visitors Bureau, Grand Rapids, Ann Arbor and Traverse City, Michigan organizations.

The Fiscal Impact Report clearly states what the proponents have been stating:  the film tax incentives work, creating a thriving and job creating industry.   The Michigan film industry has grown enormously since its creation in 2008.    The study finds an economic output ratio of $6 of activity for every $1 of film tax credit.  This has translated into an $812 Million successful return for the State of Michigan on a net outlay of $127 Million.    The incentives have created over 6,000 jobs and attracted major feature film and television production to a state badly in need of investment.

Read the entire Ernst & Young “Fiscal Impacts of the Michigan Film Tax Credits” report.

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Apple Itunes Leads 2010 Internet Film Consumption

Apple Inc.’s ITunes media store ended 2010 as the online go-to destination for electronic sellthrough, or EST, and Internet-based video-on-demand, according to a new report.

IHS Screen Disgest reported that ITunes held off challenges from Microsoft’s Zune Video (via Kinect 3D motion-control launch), Sony Playstation Store, Amazon VOD and Walmart’s Vudu as the EST/iVOD market increased more than 60% from 2009.

Read the full Home Media Magazine article – Film Budgets for Professional Filmmakers

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BAFTA Awards: British Academy of Film and Television Arts 2011

The Orange British Academy Film Awards announces its nominees for 2011.

The BAFTA Awards is scheduled to take place on Sunday, February 13th, 2011 at London’s Royal Opera House.  Celebrities and the stars behind the scenes are going to be attending and receiving awards for their work in 2010.

The Orange British Academy Film Awards is an annual event set to recognise, reward and honor individuals for their outstanding achievements in feature films that were released theatrically to a paying audience in the UK within the awards year.  Further eligibility requirements can be found on their website.  The event is put on by the British Academy of Film and Television Arts (BAFTA).

BAFTA’s primary activities revolve around staging award ceremonies for the UK and Internationally.  It is a charity with close to 6500 members within its organization and was originally set up to advance and promote education via its events, whose aim is to create and clarify the public’s taste in the television, film, and gaming industries.

Through two rounds of voting of its members they have compiled the following nominees for the British Academy of Film and Television Arts:


BLACK SWAN – Mike Medavoy, Brian Oliver, Scott Franklin

INCEPTION – Emma Thomas, Christopher Nolan

THE KING’S SPEECH – Iain Canning, Emile Sherman, Gareth Unwin

THE SOCIAL NETWORK – Scott Rudin, Dana Brunetti, Michael De Luca, Céan Chaffin
TRUE GRIT – Scott Rudin, Ethan Coen, Joel Coen


127 HOURS – Danny Boyle

BLACK SWAN – Darren Aronofsky

INCEPTION – Christopher Nolan






JESSE EISENBERG – The Social Network

COLIN FIRTH – The King’s Speech

JAMES FRANCO – 127 Hours


ANNETTE BENING – The Kids Are All Right

JULIANNE MOORE – The Kids Are All Right


NOOMI RAPACE – The Girl with the Dragon Tattoo




ANDREW GARFIELD – The Social Network


MARK RUFFALO – The Kids Are All Right

GEOFFREY RUSH – The King’s Speech


AMY ADAMS – The Fighter





For a complete list of Award Nominees for the Orange British Academy Film Awards, you can visit:,1572,BA.html#jump11

For location and transportation information regarding visiting Londons Royal Opera House, please visit to help find your way to this extraordinary event.


Presented by – the international leader in global film budgets and schedule services and film tax incentives advisors.

Red Epic | Top Ten Questions with Ted Schilowitz | Film Budgets

Red Epic | Top Ten Questions with “Leader of the Revolution” Ted Schilowitz.   Ted travels to Vietnam to meet with a Red vendor as the entire film industry there has turned to the Red Camera Systems mostly due to its impact on film budgets and the incredible image quality.   Shilowitz discusses the release date (which occurred in December 2010)

L’état actuel des budgets des films

L’état actuel des budgets des films

Les budgets des films sont en baisse. Cela est indéniable. crédits d’impôt cinéma et des incitations sont en place. Dans le court d’argent, de crédit croqué marché du financement film que nous nous trouvons au sein de l’industrie du film n’y a jamais eu plus de pression à la baisse sur les budgets des films de l’histoire moderne. Film financiers de 30 millions de dollars films sont réduits à 20 millions de dollars et vingt millions de dollars des budgets film sont réduits à dix dollars ou moins. Trois millions de dollars est le nouveau huit millions même que les budgets gargantuesques film s’élever à des hauteurs exponentielle de 100 millions de dollars, 200 millions de dollars et 300 millions de dollars pour tentpole, 3D, images générées par ordinateur (CGI) films VFX. Avec l’industrie de la publicité monde même sur un rebond après une baisse en chute libre, ventes à l’étranger sont également faibles et la conduite de la capacité de financer un budget inférieur film.

Précision devient encore plus critique en tant que budget du film est réduite afin de maintenir la qualité à un tarif réduit. budgets Movie doit fournir la même précision et la valeur de production à l’écran afin d’offrir à ces coûts film réduite. fournit la partie la plus critique d’un business plan du film.

Quels sont les budgets des films?
Les budgets des films sont le pilier financier d’un programme de cinéma ou de télévision. Ils présentent le Producteur une feuille de route à faire de votre film. Avec des budgets des vidéos de qualité dans la main du producteur de films peuvent présenter leur script aux bailleurs de fonds en vue pour eux d’investir et de faire le film. Un budget détaillé film est essentiel. La précision doit être effectué par un chevronnés et expérimentés Producteur ou unité de production Manager. Au large du plateau, les budgets rapide ne résiste pas à un test d’investissement film. Le travail est détaillée et doit être effectuée par un producteur de films qualifiés.

Contactez-nous au

Budgets Movie liste de tous les coûts dans le film. Tout ce qui est admissible dans le dépenser est inclus. De poignées, électriciens, aux étoiles, les assistants, le dépistage chambres, à la nourriture et des explosions … Vous l’appelez, toutes les dépenses seul film dans le budget. est l’endroit pour les budgets des films de qualité, les horaires et les pannes de votre projet.

Depuis 25 ans nous dispensons des connaissances top qualité de la production de projets cinématographiques et télévisuels, tout en créant des films de classe mondiale métrages et d’émissions TV.

Commencez votre production hors droit.

Nous vous fournirons un devis rapide sur vos objectifs de projet, vous permettant avec l’appareil photo et des finances budgets Prêt Film.

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Film Budgets | Section 181 Federal Film Tax Incentive Renewed

President Obama signed into law on Friday, December 17, 2010 a tax package which contains the extension of Section 181 in the form of Section 744.   Qualifying productions included film and television production, audiovisual, dvd programs which were produced in 2009, 2010 and which have film budgets of $15 Million or less and those which will be produced in 2011.

Section 181

Section 181 provides for a 100% tax write-off for a film equity investor in entertainment productions as opposed to the standard three year staggered write-off.   Know as the ‘Runaway Production” tax bill, Section 181 helps film budgets with its benefit of allowing investors to take advantage of the 100% write-off.

Film Tax Incentives

The write-off of film tax incentive can be combined the many state film tax incentive programs around the country:  Michigan, New Mexico, Louisiana, Georgia, etc.    Combining such film tax credits with Section 181 can contribute a substantial return to your investors which you may offer them which can be very enticing to a film financier.    The government wisely realized that helping financiers focus their film investments locally can improve the film industry in the USA and was designed to help fight the flight overseas, particularly to Canada which was growing as producers sought lower production costs and the previously lower Canadian dollar exchange rate.

Film Budgets

In todays economy and tight credit market film budgets are much more under scrutiny if able to be found at all!  Film finance is at its tightest point in decades, if not a generation.   While is the global leader in worldwide film budgets and schedules we also figure the most advantageous place to shoot a movie or television production taking into account the local labor scenario, the best film tax incentives and of course the highest production value which the particular setting may offer.