Tazza the high rollers 2006 rotten tomatoes
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I think the over-production problems is going to solve itself fairly quickly and naturally. What's next? Well, that is the million-dollar question, isn't it? But I am actually pretty optimistic, for a few reasons.
In all my years in Korea, I have never heard people tell me that it was a good year for the film industry. This is a local problem with a very obvious local solution.Īnother part of the problem, of course, is a certain innate pessimism you find just about everywhere in Korea (which, if you are interested in, you should check out Hahm Pyong-choon's great essay, "Shamanism and the Korean World-View", in Shamanism: The Spirit World of Korea). it was one thing when Korea was ripping off the rest of the world. Duh! Especially since the Korean police just received ex officio powers to enforce intellectual property rights last fall, there is no reason for a country as modern and successful as Korea to have such a ridiculous and pitiable piracy problem. I would feel a lot worse for filmmakers if every subway station and corner in the nation was not occupied by some dufus selling pirated DVDs. What really happened was that the film industry has grown up but home video has not kept pace. but average production costs were well under $1 million back then. Sure, in the mid-1990s, filmmakers could get 50-60% of their costs back from home video. However, I would not overstate how big the home video market used to be. Yes, the lack of a DVD market in Korea is brutal. But plenty of terrible films made far more money than they had any right to (I'm talking to you, TUSABU ILCHAE).Īs for ancillary revenues. which is how an economy is supposed to work.īacking me up, I would rhetorically ask how many really good films were released in the last year that did not find an audience? Hong Sang-soo's WOMAN ON THE BEACH did not do great, but Hong is not a mainstream filmmaker. Successful filmmakers are getting rewarded and bad filmmakers are losing their shirts. And, as a first-year economics textbook teaches, they are getting weeded out. Film companies are making too many crappy films that no one cares about. but the vast majority of those new productions have ended up in the toilet, with lousy attendance. Which means that there are more money-makers than ever, and as many successes.
What do we see? A slight swelling in hits, both at the mega-hit level and the hit level. nationwide attendance is usually about 3.5 times the Seoul number).ġ Korean film with over 3 million attendance in Seoul (I have more handy numbers available just for Seoul, but the pattern works nationwide.
And the pattern of winners has changed a lot.
#Tazza the high rollers 2006 rotten tomatoes free#
We are capitalists, dammit, and free markets are about winners and losers. Also, life is about far more than averages. Pretty much everyone agrees that far too many films were made this year, and next year the number should return back closer to 80 or so. First of all, mean average is not a great statistic. Especially considering how production and marketing costs have kept rising. In 2006, KING AND THE CLOWN and THE HOST. In 2005, that is WELCOME TO DONGMAKGOL and MARATHON. So let's knock off the top two movies from each year. Like figure skating, you should not let the best and the worst skew results too much. Take the mean average and you get $7.53 million in 2004, $7.18 million in 2005 and $5.85 million in 2006.īut it gets worse than that. However, the number of Korean films released each year has also risen, from 72 to 79 to a stunning 118 this year (that is the most number of films made in a year in Korea for 30 years).
The box office for Korean movies over the past three years has grown steadily - from $542 million in 2004 to $567 million in 2005 to about $660-690 million this year (final figures are not in yet). Let's take a more careful look at the numbers.
#Tazza the high rollers 2006 rotten tomatoes movie#
But the entire Korean movie industry made less than $50 million at the box office 10 years ago (and less than $30 million back in 1993). They are making less money in home video, making them more sensitive to cinema revenue. How is that possible? Producers and investors will tell you that although the industry as a whole is raking in more money than ever before, in fact the average film is doing worse. Despite the huge strides made by the Korean movie business over the past decade, just about everyone I talk to these days is convinced they are in big trouble. What do you call an industry that has grown twelve times over the past decade? If you are a Korean filmmaker, you would call it "in trouble." Seriously.