Project Promotion, part of the 2006 Taiwan International Film & TV Expo, "acted as go-between for talent and fund providers," said Cheng Wen-tsang, head of the Government Information Office--the agency that publishes this newspaper--while attending the Nov. 24 opening ceremony. Commenting on related government policies, he said that local TV and film makers could also apply for financing from the National Development Fund, which would earmark US$606 million over five years for the cultural and digital content industries.
In his keynote speech, Kim focused on ways that the industries' limited markets might be expanded, suggesting that a capital network could be established, under which financial resources could be shared to create works with content catering to Asian audiences. Kim, who is well known throughout Asia for his TV series "Hourglass" and "Full House," said that one of his projects this year was setting up Channel K, a network similar in style to HBO but aimed at presenting and promoting the uniqueness of Asian cultures.
Other international participants said filmmaking needed to be taken more seriously as a business in Taiwan. Chen Hong-yuan, general manager of the Taiwan branch of Hong Kong's Applause Entertainment Ltd., indicated in a panel discussion that Taiwanese films were not "fully industrialized." Hollywood movies accounted for 90 percent of local box offices, he said. In comparison, local films often attracted audiences of just around 2,000 people, meaning that they earned around US$15,000.
"For a movie to be popular at presale, it should carry credits for buyers' reference. This was lacking from most Taiwanese movies," he said. The credits also act as indicators of a film's future performance and include its story, cast and local box office figures, which were an important factor when selling films to overseas buyers, Chen said.
Harris, who produced "Conversations with Other Women" and "Crash" --which won the 2006 Oscar for Best Motion Picture--agreed with Chen, asking what use was marketing if a film did not have a story? Chen suggested that Taiwanese filmmakers reduce their distance from the audience and put their efforts into "number control."
The need to balance budget numbers with artistry was echoed during discussions over the competition section of the TFTPP, which sought to find a film that combined creativity and innovation while corresponding to popular audience tastes. Seventeen television series, animations and films were short-listed from a total entry of 44 and invited to make presentations. The US$30,000 prize was awarded to "The Adventures of Dragon Fruit," a 3D animation film produced by Taiwanese company CGCG Inc. CGCG had already raised more than half of the projected US$8.8 million needed to make the film, both from domestic and overseas investors, said a company insider who requested anonymity. This film won because "it was the one most likely to pay back," Xiao Ye, one of the judges, was quoted in a Central News Agency report.
One sign that Taiwanese films might be becoming more "industrialized" can be seen in the increasing investment by top-ranked businesses, such as Hon Hai Group and CMC Magnetics Corp., in the TV and film industries over recent years.
CMC, the world's largest DVD disc maker, for example, founded a movie corporation in 1997 and produced its first movie "Silk" in September 2006. Hon Hai Precision Industry Co. Chairman Terry Gou is similarly making his first movie, following in the footsteps of his brother Gou Tai-chiang, who bought Central Motion Picture Corp., and his son Gou Shou-cheng, who established Serenity Entertainment International to publish and produce films.