seen years and i must was able to gather enough strength for its most recent assault. what the blockade has managed to achieve, however, is to make life and gaza a living nightmare for the people there. palestinian fishermen only have access to around 50 percent of gauze and water's promise to them under the oslo accords. in 2022 tel aviv approved not even 65 percent of 6 people requesting to exit gaza for specialized treatment. a situation that has led to death from treatable diseases in the past. on top of that is rarely bombardments have made no distinction between civilians and combatants in perpetuating this long cycle of violence. the retailer tree operations carried down and prepared by the is ready occupation forces will not bring stability, but will lead us into motorcycles, of violence and blood. the collective punishment is practiced by these authorities against the residents of gauze and rejected and condemned in international law. it goes without saying israel wouldn't have been able to do it without its biggest

sponsor, the united states, a major reason for the perpetuation of the israel. a patient in the depth and suffering which accompanied is the extraordinary military diplomatic and political support given to it logically without conditions by the united states. this american military assistance has provided not withstanding the fact that the congressional laws governing us weapons experts state that the recipient countries can not be engaged and consistent veterans of gross human rights violations. it's no wonder israel's actions have thrown the palestinians right into the arms of hamas, which has long been polling as palestine most popular resistance organization. and is by far one of the most radical, perhaps things would have turned out differently. if tel aviv took up more few main approach a fine. so what taking will the back of the top of the out? the

while hollywood has dominated the film industry for a 100 years, the international movie industry is growing by leaps and bounds. today we have bollywood in india, k dramas, and see so it's coming out of asia and tele novella from latin america just to name a few. but can any of them really compete with hollywood? i'm christy, i'm. you're watching the cost of everything we're today. we're going to take a look at the cost in various markets to produce and film, and the other movie markets have the potential to overtake hollywood in the future . the. it is estimated that in 2021 the motion picture and videos industries in the us total of the $66000000000.00. now the average cost of producing a film can range from a few $1000.00 for low budget independent films, to hundreds of millions of dollars for high budget hollywood blockbusters. now the

standard film budget hinges on a few factors like screen play, cast crew locations, special effects, and marketing. film expenses are usually divided into 3 main categories. pre production, production and post production. now production accounts for a significant portion of the overall budget. often randy, from 30 to 60 percent of the total cost. this involves expenses related to hiring, cast, and crew security locations, building sets, ready equipment and other logistical aspects. post production is the other most expensive part of them creation as it include, special effects editing, sound design and colored writing. and this also depends on the text, film skill and the special effects required. and finally, it has a promotional efforts where you have advertising and publicity, and this can sometime match the cost of the actual film itself. hollywood is famous for is co loss of budgets,

but the average film budget for an independent movie is significantly lower. for example, hollywood avengers, affinity war costs, approximately $400000000.00 as compared to the other horror film. get out which costs only $4500000.00. now both of them achieve massive success, both critically and commercially, like get out spent far less on production aspects. other movies, genres that are notice we low budget films, but in the movie theaters are usually the hor, in gore and movies like the blair witch project. today. hollywood is a huge share of the world entertainment market. more than half of the audience has for many blockbuster sales from outside of the us. however, there is growing asian competitions for the film industry. today we're joined by phil make or sean stone to explore the glitzy world of movies. now shawn, the movie industry is known for as multimillion dollar budgets. could you provide

some insights into what factors contribute to the high cost of producing a film from pre production to marketing? yeah, it's, you know, it's a good question. it's something that i, as a producer, as what i mean by 1st documentary uh, was go fight against the time it was about my father making the film alexander, which was uh at that time, a pretty big budget movie. it was like a $170000000.00 or something like that, which is, uh, you know, nowadays, i think small compared to some of the, a lot of the marvel films and the, you know, these big, these big epic movies. right? they're making, they, they make them like 250000000. more so weird is the money go. i mean, these think about the amount of people involved in these productions, the, the amount of crew you're talking hundreds, if not thousands of people working for months. because there's the development side of a story, which is if you, you know, let's see, yes, if you're a number of people like a few writers. but when you get to that place of the designing visual effects,

right, that are design costume design. um, you know, you start talking about hundreds of people developing something for months and then going to work every day, you know, for maybe anywhere from 9 months to sometimes a year and a half. because nowadays you think about all the visual effects. that's the, the, the computer generated imagery that you see in, in these movies, right? these are tv shows even. and so that, that requires thousands of at least hundreds of people, sometimes thousands of people working on it and doing everything from, you know, small touch ups to people's faces. actors faces all the way down. so there's a lot of people involved in, in building and constructing and designing and making, making a film happen. but most of those people are not making a big budget. so necessarily, right? they're probably making, you know, maybe a few $100.00 a day or maybe a $1000.00 a day. so that, that's some aspect of the budget to the, the,

the bigger numbers tend to go towards the actors. you know, the people that we consider stars, right? so the director of the writers sometimes to live, to a certain extent, maybe not as much unless they're a really famous writer and the producers. and then the big this often times if it's a studio film, then the studio has their they call overhead. right? that they're basically, um, taking their costs, you know, they're kind of, they're making their money with you name at the development side of it. uh, renting out studio spaces, uh, renting out facilities. you name it rented equipment. so, you know, again, it's, it's, it's a large, large process to make a movie. it's not just writing a book, you know, it's, it's one to 3 people, you know, one editor, you know, that kind of thing. it's a very small number. painting a painting. it's usually one person to make

a movie. you're talking hundreds of thousands of hundreds of thousands of people now sound production and balls, various expenses, including test salaries, equipment, location, and special effects. housing use cost very across different genres. and what steps do studios take to manage and optimize these expenses? yeah. so, so, mean when it comes to film, remember that we talked about nowadays the productions of being like the, what they used to call like blockbusters, you know, temple blockbusters like the marvel movies or the star wars movies. and those now we see the budgets around 200000000 and that's just for the production. and then you talk about like the, the tna after you even mentioned that, you know, that's the publicity, the advertising, right? the billboards, the, the, the, the commercial spots and putting it on radio, putting, and getting actors, you know, to events around the world. right?

traveling the actors, the different events, at least. that's another 100000000 or more just advertising. so that's for the bigger movies in terms of, uh, lets say independent. so there's an interesting place where the studios tend to focus more on the big stuff because they want, you know, that justifies their budgets. that's, they tend to be a little bit safer. you know, because it's a big, there's a big audience. although we're seeing this past year, maybe you know he'd be in a jones and the flash and transformer is maybe they don't have the same audience that they used to have. right. and so they're spending to 2 or $300000000.00 and maybe it's, it's not worth it. i think that's, that they're in there and they're having to reassess. right. this is not the old game that it was the last, a pre cove it right when you just put out a big blockbuster movie and, you know, you'd make a $5002000000000.00. maybe it's a little bit different now. people may be tired of those, so you have, you know, so the studio system was got really used to just doing the big budget stuff and

then acquiring the more independent projects that you could see like um, you know, like so many examples of, of smaller films you know, maybe that don't have as big a budget because they're more contained in maybe like 510000000 dollar movies. $20000000.00 movies. right. the dramas, drama is usually are in this disk category. you know that because they're not going to spend a $100000000.00 usually on a drama unless you have a tom cruise as a star. you know, because it doesn't. you don't need a big star for a drama. um and then horror films also have been very successful. ringback traditionally, because they, they tend to be done for like, you know, $2000000.00 to $5000000.00, maybe $10000000.00. and they, as we see traditionally if they're done well, you can make easily a $100000000.00, but $10000000.00 movie. so that's going to show you a lot more profit. and so again, the thing i, i believe is that the systems are changing. you know, the sugar systems start stop,

have dropped a lot of the smaller projects to focus on the bigger stuff. and i think maybe they're come, they've been, have to come back around and say, well, actually it may be, makes more sense to, to do the, the, the smaller films, the dramas, the, the whole, the hardy, the, the drillers, the adventures that you don't have necessarily spend a $1200000000.00 to make, and we can still make good money. and sales at marketing and distribution are significant contributors to a fields overall budget. how do these costs impact the success of a movie? and can you discuss any strategies use to maximize returns on marketing investments? yeah, i mean you, oh it's, it's an interesting question of how, you know, how, how a film can be success. ready without marketing, because you know, you think about one of the great examples of marketing was like credible activity, things, which was a little movie. remember that was done for like $30000.00 or maybe $70000.00 or something very small. but um, because uh, spielberg and uh,

i think paramount got behind it. and they basically gave marketing for like $30000000.00. and what happened? it was a caught fire, right? because everyone, these are great marketing campaign of a fresh different for film. and they want to see the movie and it made, i don't remember how much 10200000000 or something or more. that's probably one of the biggest successes the whole time. so, because if you think about the cost, the cost of production to the actual revenue in. net net, the revenue. so the company as far as a sounds, you know, marketing. the question is, can you have a successful thing without it? i think the interesting thing is like the sound of freedom, which is movie, they came out this past year that was done independently of none of the studios wanted to pick it up and distributed angel studios, which is an independent studios. it's your company basically distributed. it and i

don't think they had a big marketing budget. i might be mistaken. but they still because of word of mouth, because of the sort of the grass roots you could say the grassroots audience that had heard about it was talking about it, it wants to see it. i'm saying basically saying, look by your ticket for your friends, you know, help people to can't afford it to go see this movie in the theaters. and it did like a $100000000.00. so you see 2 different strategies, right? one where you spend a lot of money marketing, getting people to get excited and often and then that strategy fails so many times with, like i mentioned the flash or the transformers or new indiana jones, you know, movies that may be, you know, there's been a $100000000.00 or more marketing it and probably did not do as well as they were expecting hollywood in bollywood, r to the world's largest film industries. how their production budgets and hollywood compared to those in bollywood. and what are the key differences and cost

structures between these 2 giant industries? so, you know, bollywood is so interesting to me because it's a bigger they make more films than hollywood. i'm correct. and i think nigeria even even bigger. but when they say they make more, doesn't you? does it necessarily mean the quality is always is good. that said, i've seen the bollywood productions. i've gotten so much better overtime. and then now they have, uh, the new movies that are coming to netflix and hulu, and new tv series that are just the same quality is, is what you'll find in, in hollywood. so i, and i'm sure you know, again, i don't know bollywood well enough to say how it compares. i'm sure that their budgets are not as big even their big budgets are not as big as uh, you know, 200000000 dollar us productions. and by the same time, we think about how again going back to the visual effects, how it this is changing this evening, the whole playing field. right?

so if you have visual effects, companies that are doing the work for hollywood, but some of those visual effects companies are based in india or korea or you know, other other countries. then they basically they have the ability to, to do the same quality of work in those other countries as they are doing in america. and so that's really where i think things are, are becoming more balance because again, in the past, you know, the acting quality is available in any country. you know, people can be, can be good actors and the productions, you know, it may not have be as have a cost as much, but you don't need, you know, it's, it's all relative, right? the, the cost of labor in india is going to be different to the cost of labor in california . but um, now with c, g i, this really is changing the, the nature of how you can make a movie. and so you can do is something a very high quality in, you know, in basically any country, if you can generate the imagery, the visual effects, imagery, and such that,

that it could all live blockbuster. thank you so much, sean. but please stick around. filmmaker sean son will stay with us right here after the break. and when we come back in recent years, hollywood has been challenged by other countries as the leader with a thriving film and tv industry. so what countries are shining in this industry? we'll have more after the break a rom just don't have to shape out. and engagement equals the trail. when so many find themselves worlds of parts, we choose to look for common ground. the

the global film industry could be divided into 2 broad categories. producers and earners. historically asian countries accounted for most of the movies made world wide for nations, india, china, japan, and south korea are among the top 5 producers along with the us. but the amount of money each market mix out of their production is completely different. the u. s. as the leading country by overall field entertainment, revenue grossing more than china. japan, the u. k. and germany combined in 2020, due to the corporate pandemic. china over tough north america as the world's biggest box office being the 1st country to achieve the status. it's revenue turnover total more than $7000000000.00. so and that attempt to protect the burgeoning film industry in china, the chinese government imposed a quote to allow the screening of

a certain number of foreign films each year. meanwhile, it has also made significant investments into hollywood, as it has seen how hollywood films help to sell the american culture to the world. now china knows that if it wants to expand it's rich and cultural exchange, it needs to be in the form of movies, tv shows, or music. meanwhile, japan has a film industry that spans more than a 100 years. it has the signature drawn rows, like animals that has been exported all over the world geography period, pieces, and quote, horror films. while some animate is hand drawn. computer system animation techniques have become quite common in recent years. animate, often draws influence from the manga light novels and other cultures. unlike western cartoons, animate as a genre isn't marketed towards or even created for children. a show that may have

a seemingly simple surface plot oftentimes features a far more complex and deeper story line and character development. today the most likely candidate challenge hollywood for the lead is asia, india, and china together both not only a 3rd of the world's population, but they have a thriving film and television industry. while hollywood release is about $250.00 commercial films a year in the alone crimes out $800.00 to $900.00 films, india is the largest producer of films in the world and is the 2nd oldest film industry in the world. the indian film industry is multi lingual and the largest in the world in terms of ticket sales by 3rd largest in terms of revenue, mainly due to have a among the lowest ticket prices in the world. the industry is viewed mainly by a vast film going indian public, although these films have been gaining increasing popularity in the rest of the world. notably in countries with

a large number of indian ex pats films like dongle has overseas growth revenue of $260000000.00 while the by who by the series cost over 370000000 dollars globally. so for this and more, let's bring in again, filmmaker johnstone to now sean, in recent years, chinese companies have made significant investments into hollywood studios and production companies. how do these acquisitions impact the global film industry and what motivations are driving these investments? sure, um so yeah, i mean there was definitely a point where it seemed like the money was going to be coming from china and in, so you know, just into california into, uh, not just into the film company like amc, i believe was, uh, my thing was wanda that that got a controlling interest and amc and uh and obviously in california in general there is a lot of money from china. um, but actually

a lot of that seems so changed. i don't know if the chinese economy is, you know, is taking it as hit it, some problems because of the coven era. and um, the actual, like i understand right now trying this real estate market is, is sitting some real problems and their financial system is having problems kind of like us. thank you. systems. so i don't see china necessarily driving the force of the film investment. in fact, i wonder if the overall attitude that i was, i was told, basically within hollywood was they, there already have some financial issues. they were already looking to cost cut before the strike. so in the sense of the strikes serves. that's why they, they haven't made a deal yet. the studio, and i mean to deal with writers because living studios wanted to cut costs anyway. and so they are trying to figure out their financial system going forward. so right now it's like a huge pause in, in, you know, this is a massive stop of products,

you know, reduction really, i mean, on the mass over 3 months now, without, you know, without writers working without, without side, you know, actors working on big projects, maybe some smaller things are happening, but it goes to show there's a, i think there's some quandaries about like, or where is probably we getting is money going forward and, you know, trying to really make the most sense of how sustainable this is. economic system is when, you know, the old north model of the box office is not necessarily as stable. so the streaming, so the idea of making money from streaming is, you know, it's pretty steady for studios, right? they have pretty steady income from streaming because they know how many subscribers they have, you know, in a month to month basis. but that, you know, when it comes to then making the, the, the filmmakers the story tellers happy. that's the hard part. because that's why that's a major aspect, but there strikes ranking about is to say, you know,

in the old days you get royalties from tv and, you know, whatever video and other rerun cycles nowadays, you know, you're not getting that, that back royalty from your productions. oftentimes, you're just looking to, you know, make a film at a certain price and make maybe a little profit on it. so maybe it doesn't have a windfall profits that people used to see from the film. so again, i don't know, boy, forward how china is gonna play. and so you do us a film production process. any time is got its own issues to worry about right now . and um, yeah, i think you know, and just in general, we're all looking to see where, you know, where is the film industry going with as far as hollywood is concerned, because i think the global market is still going. and obviously, foreign countries are still producing and making movies, no problem. what unique characteristics distinguish china's film industry from hollywood and bollywood in terms of production, practices, storytelling and cost considerations. yeah, i mean it's a little, i mean it's,

it's unclear to me, but you know, how the chinese system works. so, i, you know, but i think the biggest problem with china is, is censorship. as far as what i've observed over time is that i think india has some more, you know, some censorship around morality. sure. like i don't think they show new to the or you know, certain like will garrity right. they're pretty, they tend to be pretty team when it comes to these kind of things. but china's censorship tends to be around content, right? things you can talk about, you can talk about spirituality basically. you know, you can talk about the, you know, ghosts spirits and, you know, things like this when they're producing their, their movies. there's, there's, there's also nationalism in this, in chinese and them all right? as far as like, you know, they want to sell their country and make it look good. but, you know, if you, if you, if you sense or history,

or you don't want to talk about the culture revolution and you know, the problems of communism or whatever, right? then you're, you're stifling freedom of creativity. so for me that's, that's still a problem. when it comes to the chinese production process, they don't have the independent cinema that is so vital for our country to, to create for creative people. you know, you have to have dialogue and when you have censorship, you know, doesn't, it doesn't work for creativity. creativity has to be willing to push the boundaries by to expand people's consciousness to see from different perspectives. challenge that so that same problem, censorship, other ways in way, in ways come to america or it's not written. maybe the same way. it's not so written. it's, but it's on written right. these ideas or even sometimes it is written the censorship, like you can't get an oscar now and this half you're casting grew. is a minority or something. right? i mean, how crazy is this?

this is like a chinese just the of censorship. truly, because you're no longer making it about the creative process and the all, and the, and the, the product it's, it's about how it appears. right? it's about superficial. so it's like you're, you know, you're following the, the no communist party dictates of, uh, you know, who can show up on the movie or not. that's not a good. that's not a healthy thing for hollywood to be facing. is that kind of censorship? and i think it applies to other aspects of hollywood culture, you know, as far as you know, is so whole for concepts, right? it's, you know, it's limiting of, of, of the creative experience because it comes to self conscious. when you become too self conscious, you're no longer be creative. now you become night, you're a performer, basically you're just there to perform. you're not there to actually be genuine. and to be real. so i think hollywood is hitting that problem in the, you know, has some of the back, as i mentioned, they have some censorship. but um,

i don't know as far as that industry. i think it's, it's a pretty, it's hopefully expanding with more and, and then production again, just because of the nature of digital cinema and everything is going on the revolution of digital. you know, that they're going to have more independent voices. i'm sure that will challenge that as well. and um yeah, music about some of the countries that have had the best quality of production consistently of less than 2 decades. it's like south korea and um, i think that has to do with their, their freedom, the freedom of the artists to tell stories that are proactive in edgy and i yeah, i mean, they're very unconventional the ways upgrades. stellar stories is the film industry still are money making machine or are we just repeating stories? yeah, because because okay, so, so movies will continue to make money. oh, by the way, one other thing i was, i should mention is that hollywood also because of being was language because the english language is such a unifying language. and that's also been able to help to transcend the cultural

differences, right. so if you're in europe and you're going to tell you that a portuguese, that a span is and a french right english is the common language that everyone can connect through. so that's also help for hollywood to, to have such a global impact. and it will, you know, money movies will make money just the same way that any commodity, any, any, or anything that people wants, you know, is going to have, there's going to be a value to it, right? so whether, you know, whether people are going to pay in a box office or they're paying for a netflix, or they're just getting us through a free streaming app that, you know, it gives them commercial breaks, right? like television. there's always ways of making money because i think people want story. so as long as you want a good story and you know, just want to watch it took talk video or a streaming uh tv show. you're gonna want to see a movie. thank you so much on sound for all your time today. today we live in an

era where we consume a lot of content. media plays a huge role in the progression of globalization. and the film industry is especially unique and its ability to reach an international audience. globalization is now helping the proliferation to form films, thus creating competition for the hollywood industry. today, the increasing asia analyzation of the film business could represent globalization at its best and expose as a broader sector of the us audience to diversion and culture and political perspective. and could provide enormous value. rather than experiencing a clash of civilizations and cultures, we would get a truly cosmopolitan world of entertainment media. i'm christy. i thanks for watching and we'll see you right back here next time on the cost of everything. the

the grief of despair in gauze the jews move on the victims of the escalating conflict as it will boldly a little tired. 3 goes on my relatives evacuated from guys a cd because it was supposed to be safer here. but how about his all we need is the one who takes charge of all the fairs. glen level, home spickle from dozens of access balmy's in israel with them on the move done through a few of their loved ones. so being housed posted by the us, i agree general those are wall only opening and go those photos of egypt. so now it's true would be enough.