Category: Hollywood (Page 1 of 2)

Very strange post on the LA Times’ Big Picture movie blog (thanks to The Marmot for finding this) — it talks about why Korea is getting IRON MAN 2 before Japan, saying that it is mostly because of Korea’s high rates of online piracy.

I say strange because I have no idea why Korea is getting singled out. IRON MAN 2 was released in over 50 territories last weekend, all over the world. Day-and-date releases from Hollywood are increasingly the norm, and have been unremarkable for quite some time.

Big Hollywood films, especially those released in the May-June area, have usually been released in Korea at the same time as in the United States for years now. Korea usually saves up its big blockbusters for later in the summer, in July and August, often causing Hollywood films to move their opening dates to avoid the biggest Korean films then. But May is the biggest time of the year for Hollywood in Korea.

That said, even films that get a delayed release can do well. MAMMA MIA! was released in Korea two months after it was in the United States and much of the West, but it made $25 million in Korea and was the fifth-biggest film of 2008. Sure, Korea has a lot of online and offline piracy, but perhaps the situation is more nuanced (and profitable) than some people would like to bellyache.

I especially dislike media executives complaining about online piracy without any comment about what their RESPONSIBILITIES are. Like they can hold on to their movies, music, TV shows or whatever and release them whenever they want. Sorry, but this is the Internet age, and if you do not give customers a fair chance to buy your content, they are not going to wait patiently for you to release something when you feel like it. Yes, consumers need to respect copyright. But producers also have a responsibility to make sure their content is available in a timely, convenient manner.

The LA Times would have been much better off asking the more interesting question — Why is Japan still releasing so many movies so much later than the rest of the world? The Japan market is the unusual one that needs an explanation, not Korea.

(And in case you are interested, the reason Hollywood films are released so much later in Japan has more to do with its tricky theatrical market than its respect for copyrights. In Japan, it can be hard to book screens, hard to market movies, there is relatively low theatrical attendance for the country’s population, high ticket prices and a whole host of difficulties.)

For the first time in 11 years, the biggest movie in Korea is no longer Korean. It looks like AVATAR has finally become the most popular film ever in Korea, topping the admissions for previous record holder THE HOST. 20th Century Fox says that on Sunday, AVATAR reached 13.01 million admissions, making it the biggest selling film ever in Korea.

AVATAR was already the highest-grossing film ever in Korea, due to its higher tickets prices.

My only caveat is that, according to my records, THE HOST had 13.02 million admissions, so it is possible that AVATAR has a few more tickets to sell. But even if that is the case, it is obvious that AVATAR will set the record in a day or two. (UPDATE: My caveat is moot. KOBIS says that AVATAR hit 13.08 million at the end of Sunday).

What is really amazing to me is that AVATAR’s 13 million admissions is so much higher than the next-closest foreign film, TRANSFORMERS 2, which had only 7.4 million admissions. That means AVATAR is over 75 percent higher than the next-biggest foreign movie.

Kind of sad, really. For years, the top foreign film in Korea was RETURN OF THE KING, which had its problems, but was mostly a good, epic movie. But TRANSFORMERS, TRANSFORMERS 2 and AVATAR? Those are three really crappy movies. I hope a new Korean movie can come along to retake the top spot before too long.

James Cameron’s 3D epic AVATAR is moving ever closer to setting the all-time attendance record in Korea. As of Monday, it sat with 12.83 million admissions, good enough for No. 2 all time in Korea. The No. 1 film, THE HOST, is just 190,000 admissions ahead, with 13.02 million. So it is looking increasingly likely that the biggest film ever in Korea is soon going to be a James Cameron film … Which strangely enough was the state of things 10 years ago, when TITANIC was the biggest blockbuster ever in Korea (before SHIRI came along).

FYI, AVATAR has now made 118.7 billion won ($103 million) in Korea.

FYI 2, the Korean film SECRET REUNION (Uihyeongje) is also doing quite well — 3.5 million admissions after three weeks. In fact, three of the top four films were Korean last weekend, so it looks like things are bouncing back after a rough January.

It is official — AVATAR has become the first foreign film to top 10 million admissions in Korea. According to KOBIS, AVATAR has now had 10.2 million admissions, pulling in 91.1 billion won ($79 million) in Korea.

And according to the Chosun Ilbo, AVATAR is already the highest-grossing film ever in Korea (thanks to the higher ticket prices).

It really has been a staggering run for AVATAR in Korea, landing easily in first place every week for the past six weeks. Last weekend, ATTACK THE GAS STATION 2, the No. 2 film, could not even get half the admissions AVATAR did.

Before AVATAR, the top foreign films in Korea were TRANSFORMERS 2 with 7.4 million admissions, TRANSFORMERS and RETURN OF THE KING. James Cameron’s previous film, TITANIC, had about 4.5 million admissions.

Btw, the top Korean film over the same period has been WOOCHI, which has been doing okay, but not spectacular — little over 5.5 million admissions, and 40 billion won.

In case you were wondering, James Cameron’s 3D blockbuster AVATAR currently sits on top of the advance ticket sales, accounting for 71.2 percent of all sales (KOBIS, of course). Not bad — although it does not come close to the 89.7 percent that TRANSFORMERS 2 got.

It is also playing at five IMAX theaters around the country — in Seoul at the CGV Wangsimni and Yongsan, and in Daegu at the CGV Daegu, Gwangju at the CGV Gwangju, and in Ilsan at the CGV Ilsan.

It is hard to believe I was in Korea way back when TITANIC came out. Hard to believe that at the time it was the biggest movie ever in Korea, with something like 4.5 million admissions (SHIRI was still a year away). I watched TITANIC in what was then the only multiplex in Daejeon, The Academy (I think it was called). It was a decent theater, with three screens, located near the train station. Today, that theater is part of the Megaline franchise, and has been divided into nine tiny screens (assuming it is still there).

It really gives you sense of how much the Korean movie industry has changed over the past decade — from almost no multiplexes to almost nothing but multiplexes, from low attendance to high (national attendance to films has tripled in Korea since TITANIC). And, of course, the most popular films in Korea are now all Korean. The biggest foreign film ever in Korea, TRANSFORMERS 2, would not even make it onto the top-10 overall there.

Oh, and there is an article on 3D movies in Korea (although not a lot of information about the local scene) here.

Okay, this is a few days old, but I quite enjoyed this story about how talks between DreamWorks and Mandrake Pictures to remake OLDBOY have broken down. It is an interesting article, helping to point out the many problems aside from creative that potentially stand in the way of any project — ownership and other rights, speed of development, executives changing jobs, etc.

As you probably know, there have been stories floating around about how DreamWorks wanted to remake Park Chan-wook’s iconic film, with Steven Spielberg directing and Will Smith starring. But looks like all that is now kaput.

Of course, OLDBOY was loosely based on a Japanese manga of the same name, so just who would be remaking what was always a tricky question. Like the proposed remake of THE GOOD, THE BAD, THE WEIRD… just who “owns” the idea? Anyhow, all moot now.