Bright Shadow Films » cast and crew

Shooting In HongKong?Let’s do it!

admin — Sat, 03 Apr 2010 07:34:45 +0000

We had a shooting in Hongkong beginning of this year, the client requested the production support from us, the client didn’t know how would it go, they required location scouting, equipment rental, production support and expect everything to be finished in one week, with the great network and resource we have, we manage to arrange the shoot smoothly, the client were happy about the result.

Just in case you have to have a quick look:

There is a Bright Shadow Production assistant live in HK? Of course we do, JoJo is our hero in this shoot!

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CFPC’s project is on theatrical release

admin — Thu, 11 Mar 2010 08:49:07 +0000

Directed by China’s young director Yang Shupeng, THE ROBBER, whose leading actors include Hu Jun and Jiang Wu, has been on theatrical release since Nov 20th, 2009.

THE ROBBER is one of the films going public screening among the projects of SIFF’s China Film Pitch and Catch. It is Yang’s second feature film after his maiden work THE COLD FLAME.

Since its debut in CFPC of SIFF 2007, THE ROBBER has been considered as market promising and won CFPC’s award for Most Promising Project to Invest. It was well evaluated by investors and received collaboration intentions from international distributors including AVIX of Japan when it started to shoot.

In addition to THE ROBBER, other CFPC’s projects such as ONCE UPON A TIME IN TIBET by DAI Wei and THE LAST RAINSTORM by Leste Chen are now almost finished and scheduled for theatrical release the coming year.

SIFF’s CFPC serves as a bridge for the connection between film projects and investors, the place in which the young film makes can benefit from the concept of investors as well as their insight to the market. This helps young film makers better understand the market and enlarge the possibility for their project’s success.

The China Film Pitch and Catch is one of SIFF’s efforts to explore, support and promote the young. During the past few years, SIFF integrated its resource to be an effective system consisting of pitching, co-production and competition. The China’s annual leading festival hopes these efforts could encourage directors’ brave innovation and practice in arts while at the same time provide them the chance for their development worldwide. Wanma Caidan, SIFF’s best director of Asian New Talent Award 2006 for his THE SILENT HOLY STONES, brought his project ON THE ROAD TO LHASA to CFPC. His latest THE SEARCH competed for the grand Jin Jue Award of SIFF and is selected by the jury panel head by Danny Boyle as the winner of Jury Grand Prix. It’s now going for the theatrical screening in France by the end this year.

Either Yang Shupeng or Wanma Caidan, or THE ROBBER or THE SEARCH, it’s just a start. The young generation of China’s Film Industry grows fast and shows their talent to the world. The Shanghai International Film Festival will continue to set up a international stage for them.

The 13th Shanghai International Film Festival is due to start on June 12, 2010.

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What is a Sino-foreign co-production?

admin — Fri, 11 Dec 2009 06:46:15 +0000

Nature.

A Sino-foreign co-production, simply put, is a contractual arrangement between a foreign party and a Chinese party to conduct filming in China. There may be multiple parties on each side, provided that the Chinese party/parties must be production entity/entities accredited by the State Administration of Radio, Film and Television (SARFT) (for details, see “Structuring a Sino-foreign co-production”). For purposes of Sino-foreign co-production, investors or producers from the Hong Kong and Macao Special Administration Regions and the territory of Taiwan are considered as overseas parties.

Relationship of the parties.

The parties to a Sino-foreign co-production organize and conduct affairs of the co-production, including division of rights and obligations, in accordance with the co-production agreement entered into between them. The parties do not set up a separate entity for purposes of the co-production.

Approval.

All Sino-foreign co-productions must obtain the approval granted by the SARFT before any filming activity commences, and when the film is completed (that is, the censorship approval). Every co-production project can only be directed at producing and shooting one film, and a separate application is required for each project. The approvals are granted on a case-by-case basis depending on the relevant authority’s review of, among other things, the screenplay and the completed film. The regulatory regime captures all film genres and all formats in which filming will be conducted.

Governing authority.

The governing authority for Sino-foreign co-production is the SARFT, in particular, the Film Bureau of the SARFT. Nevertheless, the SARFT has appointed China Film Co-production Corporation (CFCC) as its sole agent to assist in managing and coordinating the applications, conducting preliminary review of the screenplay and completed film, and other logistical matters relating to Sino-foreign co-productions.

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In need of cash, Hollywood looks to India, China

admin — Wed, 02 Sep 2009 04:12:17 +0000

This Article Originally From:Reuters

LOS ANGELES (Reuters) – Disney’s $4 billion purchase of “Iron Man” moviemaker Marvel Entertainment signals a possible wave of media industry consolidation, but the cash to do deals may come from India or China, not Hollywood or Wall Street.

Even before Walt Disney Co (DIS.N) and Marvel Entertainment Inc (MVL.N) made their announcement on Monday, Hollywood watchers said Indian firm Reliance ADA Group’s recent $325 million investment in Steven Spielberg’s DreamWorks movie studio was a sign that opportunity exists for similar deals.

As the recession took hold in late 2007, Hollywood saw financing from U.S. hedge funds and banks dry up, and experts say Indian and Chinese firms are now in a better position to invest. For its part, Hollywood needs overseas cash to continue expanding globally where growth opportunities are strongest.

“If you have capital to invest, you can probably cut a better deal now than any time in the last ten years,” said Larry Gerbrandt, principal at consultancy Media Valuation Partners.

“A lot of Indian and Chinese companies have excess capital these days and Hollywood, aside from the fact there’s a certain glamour factor, those (Indian and Chinese) markets also need content, so there’s interesting deals to be made.”

Sky Moore, an attorney who worked with Reliance as it put together the DreamWorks financing package, said a bigger deal could be in the offing within two years.

“I think the bigger move is buying a studio, and I don’t know if it will be (a company from) India or China, but I think somebody is going to buy a studio,” Moore said.

STUDIO TARGETS

The Disney/Marvel deal fueled speculation DreamWorks Animation SKG Inc (DWA.O), maker of the “Shrek” movies and a separate company from DreamWorks Studios, could be next on the acquisition target list because of its solid position in the marketplace and focus on the lucrative family market.

Moore and Gerbrandt also named Metro-Goldwyn-Mayer Inc as a potential acquisition target, although they said they had no specific information of any deal in the works.

Rumors of MGM’s potential sale have surfaced for years. The storied Hollywood studio faces looming payments on $3.7 billion of debt from a 2005 buyout of the firm, and earlier this week it replaced its CEO and hired a turnaround expert.

Chinese film studios are strengthening ties with their peers across the Pacific. The Huayi group, which Morgan Stanley called “China’s Warner Bros for tomorrow,” has said it is seeking capital to expand and has developed movies with Hollywood majors such as Sony Pictures. Its larger rival, The China Film Group, is reportedly keen on developing projects in the United States as well.

India’s expanding reach into Hollywood has included Reliance’s purchase of about 50 U.S. theaters and Indian entertainment company UTV’s investment of tens of millions of dollars over the last three years in several movies, including “The Happening” and “The Namesake,” Moore said.

“It’s not about bringing Bollywood to Hollywood, it’s about mainstream worldwide English-language entertainment,” he said.

Hollywood studios have also made big investments in India. Warner Bros, a division of Time Warner Inc (TWX.N), has signed multi-picture deals with Indian companies People Tree Films and Ocher Studios.

Twentieth Century Fox, a division of News Corp (NWSA.O), has started a joint venture with Asian broadcaster Star to create films for India under the name Fox Star Studios.

Foreign investment in Hollywood is nothing new, of course. In the 1990s, German tax credits spurred production of U.S. movies, and before that Japan’s Sony Co (6758.T) in 1989 bought Columbia Pictures. Sony also has a stake in MGM.

David Molner, managing director of Screen Capital International, a media and entertainment financing firm, said that absent foreign investment, Hollywood could simply have to endure a slowdown due to lack of capital.

“Either the Asians lead the pack or we have a lull,” he said. “Mostly because they’re probably going to be the fastest out of the blocks as the economy recovers.”

(Reporting by Alex Dobuzinskis; Editing by Bob Tourtellotte and Tim Dobbyn, Phil Berlowitz)

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The 12th Shanghai International Film Festival 2009 concludes

admin — Mon, 22 Jun 2009 06:33:10 +0000

Award for Best Feature Film
ORIGINAL directed by Antonio Tublén / Alexander Brøndsted
Jury Comments: Using this title for a film is dangerous, almost suicidal. But the film more than met the challenge the title lays down. A light, touching and subversive study of mental illness that is compassionate and never sentimental. From the opening image of a fish tank being peeled open to the Mexican wrestlers tumbling in the heroes’ mind we know we had found the best film …… ORGINAL!
Jury Grand Prix
THE SEARCH directed by Pema Tseden
Jury Comments: The most challenging film we saw, almost a meditation in patience as well as an exercise in it for the viewer, uncompromising but funny and humane too. We look forward to many more films from Tibet.
Jury Award
EMPIRE OF SILVER directed by Christina Yao
Jury Comments: To the director and her cast and crew for the detail and craft on such an epic scale and in such extraordinary locations. And for reminding us, especially at this time that bankers should be kind and righteous.
Award for Best Director
Julius Sevcik for NORMAL
Jury Comments: A dazzling and technically bold director in command of all elements delivering his challenging vision of the serial killer genre.
Award for Best Actor
Sverrir Gudnason in ORIGINAL directed by Antonio Tublén/Alexander Brøndsted
Jury Comments: Is he acting, fantasizing, fooling everyone – and himself – or is he simply crazy – we never really know. What we know is that this young actor’s brilliant, sensitive, humorous and vulnerable performance is absolutely mesmerizing.
Award for Best Actress
Simone Tang in ACHING HEARTS directed by Nils Malmros
Jury Comments: For the control and clarity of complex emotions perfectly captured by a performance that lures us in until we find ourselves, like the young hero, repulsed.
Award for Best Screenplay
Fabio Bonifacci/ Giulio Manfredonia for WE CAN DO THAT
Jury Comments: Their screenplay documents with wit and clarity – a true story of the way political philosophy can intersect with social need and build something truly transforming
Award for Best Cinematography
Nicolas Guicheteau / Hans Meier for NOWHERE PROMISED LAND
Jury Comments: This is the most contentious decision. It is not in the classical tradition but more an acknowledgement that cinematography in the modern era can be about ways of seeing; what you look at and how it looks back at you.
Award for Best Music
Hyoung-woo ROH for ROUGH CUT
Jury Comments: Modern, pulpy, deliberately undermining and enlivening the gangster genre

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