Video editing : How to sell and buy films abroad?

The MIFC officially opened with a round table discussion on the sale and acquisition of heritage films internationally, in the presence of the festival's key witness, Peter Becker.

The first conference of the International Classic Film Market was an opportunity to sink into the mysteries of the transactions surrounding classic films. Hosted by Patrick Marteau, editor-in-chief of the specialized magazine Les Années Laser, this talk brought together industry leaders Jérôme Soulet, video, television and new media director at Gaumont and former sponsor of the ICFM, Eric Saquet (director at ESC publishing), Giordano Guillem (heritage acquisitions manager at Wild Side) and Peter Becker (president of the Criterion Collection).

The round table quickly focused on the methods put in place to acquire cinematic treasures. In a collegial manner, professionals of the sector expressed the importance of relationships in this process. As a representative of Gaumont's catalogue of more than 1500 references, Jérôme Soulet mentioned the importance of the rightful claimants in choosing the right buyer. This sentiment is shared by the president of the Criterion Collection, Peter Becker, aware of the essential nature of commercial relations with right holders, who are often active and eager to collaborate in the editorial process. The priority of publishers, from Criterion to ESC, remains the desire to connect directors to the restoration process (master, color grading...) and to the re-release of their works, despite the reluctance of some such as Jim Jarmusch or Wes Anderson. This is of fundamental importance in the United States, where movie rights are taken from the creators in favour of the majors. 

The conference then addressed the question of the purchase price of classics. According to Eric Saquet, apart from the Park Circus and Hollywood Classics catalogues, there is no fixed price for films. Rates remain negotiable according to several parameters, including the popularity, age and visual quality of the film. Another variable remains the nature of the exploitation rights (DVD release, theatre exploitation, streaming distribution...) of the property sold, adds Jérôme Soulet.

Although it is mainly regulated by the law of supply and demand, the market for heritage works remains "subject to the irrational", as Giordano Guillem points out. "Prices are set according to the publisher's wishes and we often give in more than we earn," adds the Wild Side manager.

From selling prices, the discussion quickly shifted to the conflict of interest for companies like Gaumont, both sellers and publishers of heritage films. Jérôme Soulet mentioned a false problem, insisting on the crucial importance of the visibility of the catalogue. "As Bertrand Tavernier said: a film that doesn't show up no longer exists," he stated. For Gaumont's executive, the coexistence of two editions for the same film (if they provide a different perspective on the work) is beneficial for all the parties involved. 

After a fairly technical first half-hour, the guests were able to express themselves on their most beautiful acquisitions and those that remained inaccessible to them. From Once upon a time in America, jealously guarded by Disney to La maman et la putain, long coveted by Criterion's teams, the acquisition of some works remains a story of perseverance in the words of Peter Becker.