After an early career in television - including a leading role on the amusingly titled Two Guys, a Girl, and a Pizza Place - Reynolds made his breakout debut in the 2002 National Lampoon movie Van Wilder, instantly putting him on the map as a disarmingly handsome star with substantial comic chops. For years after, Hollywood would struggle to find the right vehicles for the actor. Ryan Reynolds' movies tend to vary and the actor has an impressive catalog. Much of his career saw Reynolds hopping from genre to genre, from the rom-coms of The Proposal and Definitely, Maybe, to action flicks like Green Lantern and 6 Underground, to more serious fare like Buried and Woman in Gold.
Paul Haggis' directorial follow-up to his Best Picture-winning 2005 film Crash, 2007's In The Valley Of Elah didn't nearly get the same notoriety or attention as the writer/director's previous film, even though it's quite arguably the better, more nuanced film of the two. Centered on a retired military investigator who works with a police investigator to discover the truth about his son's disappearance following his tour in Iraq, In the Valley of Elah is certainly a somber, heartbreaking movie, if one filled with emotionally resonant scenes. While not without its heavy-handed moments, In the Valley of Elah is benefitted enormously by its wonderful stand-out performances, notably from both Tommy Lee Jones and Charlize Theron in their lead roles.
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Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)).
As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007).
The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players.
Bollywood is even now greatly disintegrated with ample number of individual players in every section of the value chain. 6 On the other hand, ever since it has acquired the official industry status in the year 2000, corporatization is taking place, the structure of the industry is moving towards bigger players and there is an integration of the various elements of the value chain and also amid industries (music, telecommunication, TV) (Pendakur, M., 2003). As producers at the present time can pre-sell their film rights to up to 35 various revenue sources (e.g. satellite TV, DVD, home video, radio stations, etc.), film production is the largely rewarding element of the value chain. Whereas even now individual producers finance and produce a movie on the basis of their own industry-network (e.g. of financiers) mainly also large integrated Hollywood-style production studios emerge embracing also the distribution and marketing function. Very profitable is also exhibition: With an up-and-coming wealthy middle-class sections, urban centres are witnessing a sudden expansion of modern-style multiplex cinema (300 in the last three years) generating 60% of all box office earnings (Ernest & Young, 2007a). The cost of the ticket has been 300% of conventional theatres, thereby generating huge earning potential (De Ramos, 2007).
"We're working closely to explore synergies in activities like movies, animation, content, and gaming," says D'Mello. "When you think about it, there's no reason why, while you're sitting here growing your India pie, you can't be a content producer in the mainstream Hollywood scene." Perhaps, stealing Hollywood's glitter will be in Bollywood's next script.(Ramos 2007)
Today India has a greater presence in the global film industry. India produces the largest number of movies in all over the world: about 1041 films were produced in India as compared to US who produced about 815 movies in the year of 2005 (European Audiovisual Observatory, 2007). The number of people entering a Theatre in India is also more than double bigger than US (3,770 every year in India whereas1, 403 in US) (EAO, 2007).
The Indian government is promoting this trend by arranging co-production agreements with individual countries (so far UK, Germany and Italy) facilitating tax and import issues and is also discussing to open a single window for investors offering centralized clearance service to prospective foreign film producers (MIB, 2007). Foreign investments are valuable for Bollywood with regard to exchange of experiences, training between technicians and a possible positive impact on storylines and general quality of movies, and are hence responding to the challenges of divergent demand and foreign competition.
Different distributors typically cover different regions, particularly in terms of the physical distribution of film copies (Naachgaana, 2008a). Exhibition of Bollywood movies is related primarily to theatres and TV stations (70% of revenues). Exhibitors are often stand-alone local theatre operators or TV stations. The consumption phase comprises every business but primary exhibition, thus the sale of DVDs, videos, soundtracks and merchandise. The secondary markets are turning out to be largely significant and propose still a bundle of untapped revenue potential esp. with consideration to commercials and IT-related consumption channels like as internet (anticipated at 46 million users with an active user base of 32 million) (Ernest & Young, 2007a).
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