El cine nacional, el estado de las cosas al cierre del 2010.

Cuando los sueños se vuelven realidad ¿qué pasa? Muchas veces, una pesadilla. Esto le pasa al cine nacional cuando enfrenta por primera vez en su historia un cúmulo de producciones, estrenos y buzz que si bien debería a todos ponernos muy contentos, tiene a críticos, distribuidores, medios, productores y exhibidores mordiéndose las uñas sin una idea clara de qué hacer. Llegamos todos juntos al llamado “cuello de botella”.

¿Qué tanto es “mucho cine”? Dudo que alguna vez nos hayamos dicho “ya vi mucho Hollywood”. En México, sería casi-casi como decir “ya comí muchos tacos en mi vida”. No pasa. Nos vuelven a ofrecer y volvemos a entrarle. ¿Por qué se levanta el "sospechosismo" de que la audiencia no le agradará todo el “mucho cine mexicano” y en vez de ir todos en banda eléctrica marchando lentamente hacia el abismo no se toman las precauciones necesarias para dar cabida al producto nacional en la mente y bolsillo de los espectadores?

Factores varios aquejan:
1. Marketing.

¿Otra de balazos y explosiones?¿otra comedia romántica?¿otra slasher movie con adolescentes de cuerpos torneados? La oferta nunca es taaaan amplia para empezar. ¿Por qué dejar estigmatizar al pequeño cúmulo de películas que tienen similitudes temáticas? Si la oferta mercadotécnica las separa, las hace individuales e irresistibles, la gente iría a verlos. Y no sólo del cine, sino de la oferta en línea y televisiva. Pero imaginemos, ¿cuál es la diferencia de personaje del gran Giménez-Cacho en El infierno, Arráncame la vida, El Atentado o en Gritos de Muerte y Libertad? si los marketeros y las distribuidoras no enfatizan esa diferencia, la audiencia menos. Y ahí empieza la masificación y generalización de la crítica. Ahí surgen los prejuicios. “Una no me gusto, lo demás es igual”. Y desgraciadamente, sí, lucen igual.

2. Estrategia y timming.

Chicogrande de Felipe Cazals quiso hacer el madruguete estrenando en los albores del verano. No funcionó. $2 millones de pesos en 7 semanas. Las Buenas Hierbas venía de ganar Guadalajara. No funcionó. $430 mil pesos, auch. El Atentado resucitaba a Jorge Fons. No funcionó. Abrió con escasos $3 millones, terribles si se toma en cuenta que es la película mexicana más cara en la historia ($78 millones de pesos) y el buzz generado en twitter y en boca a boca se la está comiendo viva.

3. Awareness.

El nombre del juego es “reconocimiento de marca”. Si las distribuidoras no extienden sus períodos de promoción y los productores no los exigen es difícil sembrar la “intención de compra” en la audiencia. ¿Desde hace cuánto sabemos que Tron Legacy se estrenará? o la película de Los Vengadores o las últimas Harry Potter o la cuarta entrega de Piratas del Caribe? Hollywood de por medio. Sí. Grandes presupuestos. Sí. Event movies. Sí. Pero todo lo que sabemos de ellas, años antes que se estrenen es gracias al democrático y gratuito internet. No es tan difícil. La producción regiomontana de aliens Seres:Génesis lo intentó pero al final desaprovechó su larga gestación -4 años desde la preproducción y su anuncio incial- hasta su estreno vía Corazón Films el próximo 24 de septiembre. Desinfló su moméntum e interés inicial. Es un proyecto ambicioso multiplataformas que quizás debido al pequeño awareness del estreno (y no ayudado tampoco por el descalabro de la cinta de ficción 2033) no llegue a las expectativas de sus productores. Lo mínimo que deberían promocionarse son 6 meses antes del estreno sembrando contenido en línea, trailers, fotos y posters, no como el mes y medio que ahora es la práctica común en las producciones nacionales.

Un fenómeno peculiar en la industria es el rol de los exhibidores. Históricamente los malos de la película. Manoteos, dramas, declaraciones se han hecho por parte del establishment cinematográfico nacional, las vacas sagradas, la inexistente academia y uno que otro oportunista con toques politiqueros en su contra. Pero ellos, la pura verdad, son sólo gente de negocios. No importa otra cosa más que el producto “que venda”, no importa si viene de China, Estados Unidos o de la colonia Condesa. Cinépolis es el distribuidor más fuerte del país y está en el Top 5 de operaciones internacionales, con cadenas incluso en India (el más grande productor de películas del orbe), algo sabrá de colocar y mover producto. No es que sea una cadena “imperialista” dedicada a los intereses “neoliberales” como se escucha en los discursos que suenan a otras épocas. Si le damos producto, ellos lo ponen, si funciona, se queda en cartelera. Por eso se le dio fácil a su director, Alejandro Ramírez (también presidente de la Canacine!), comprometerse a apoyar el cine nacional si la audiencia respondía en taquilla. Fenómeno que efectivamente sucede como se ha visto con éxitos nacionales recientes como:

• Volverte a ver, $34 millones. 
• Amar a morir, $35 millones. 
• Abel, $37 millones. 
• El estudiante, $40 millones. 
• Arráncame la vida, $98 millones. 
• Bajo la misma luna, $101 millones. 
• Otra película de huevos y un pollo, $113 millones. 
• Rudo y Cursi, $128 millones.  

Todas son películas que han hecho labor en tocar a la audiencia, generar reconocimiento y ser negocio. Más allá del gusto personal. Son productos fuertes y las cadenas reaccionan positivo ante eso. Es sólo dinero. Quizás por eso, a los puristas les duele tanto el éxito de Jaime Camil o Eugenio Derbez frente a las obras de Fons o de la Novaro. Con manufactura y actuaciones muy discutibles para la industria, las películas de Camil se embolsaron $18 millones por Regresa y $37 millones por Recién Cazado. Derbez tuvo el campanazo de No eres tú, soy yo con el cual se embolsaron cerca de $20 millones en su fin de semana de estreno. Si la película es buena o pasable para los estándares de su público core, llegará sin duda a ser la producción nacional más taquillera del año. Si sucede, como la industria cree, que es muy mala, los números de las semanas subsecuentes irá bajando considerablemente. Aunque, ya en esas, habría que preguntarse también acerca del star power de Derbez y su presencia en la fórmula del éxito de Bajo la misma luna de Patricia Riggen. Pero más que justicia poética y castigar la fortuna ajena, necesitamos, como industria, más películas con esos números de estreno. 

El infierno de Luis Estrada intentará levantar algo de humareda con el tono “anti-festivo/denunciativo” pero con su muy mejorable campaña gráfica y su acalorada clasificación C luce difícil. Aunque una vez con gente adentro de las salas debería tener buen boca a boca porque la película sí es muy recomendable. Héroes Verdaderos llega muy justa con su campaña e imagen pero ayudado de socios comerciales fuertes pretende dar batalla en el mercado familiar. Biutiful vendrá catapultado con el buzz mediático ante la figura divinizada de González-Iñárritu y el brazo fuerte de Televisa ayudando en la promoción. Hidalgo sin duda es la que más expectativa ha creado entre las obras conmemorativas y cuenta con buena campaña gráfica y la siempre empática imagen de Demián "lo mío, mío" Bichir.

Pero no todo queda ahí, el panorama se extiende con varios estrenos ya programados y anunciados:

• El informe Toledo, 27 ago. 
• El infierno, 3 sep. 
• Brijes 3D. 16 sep.  
• Año Bisiesto, 17 sep. 
• Hidalgo, 17 sep. 
• Seres:Génesis, 24 sep. 
• Héroes Verdaderos, 24 sep. 
• Alamar, 1 oct. 
• Biutiful, 22 oct. 
• Te presento a Laura, 29 oct. 
• Somos lo que hay, 29 oct. 
• Viaje redondo, 12 nov. 
• Revolución, 19 nov. 

Año Bisiesto, Somos lo que hay, Alamar, Viaje Redondo y Revolución han tenido exitosas corridas en festivales internacionales recibiendo buena cantidad de premios en diferentes categorías. Las primeras tres, al llegar a cartelera vía Canana y Mantarraya con pequeño número de copias no se esperan grandes números de entrada, pero quien las descubra en las salas seguro se llevará gratas sorpresas. Viaje Redondo espera llegar a un público más comercial (y femenino) vía Videocine y la película formada por 10 cortos de 10 de los directores más interesantes del país, Revolución, desgraciadamente perdió moméntum al plan inicial de promoción desde su premiere en el Festival de Berlín y ahora esperan retomarlo con su presentación en el Festival de Morelia.

Fuera del radar, se espera el arribo de documentales y otras películas con menos promoción (!) hasta ahora como El baile de San Juan, La Cámara Casasola, Las paredes hablan, El general y El grito que sacudió a México. Todas estas coproducidas por Imcine que afirman que la producción de largometrajes en 2008 fue de 70 obras y en 2009 fueron 66. Estos números se espera que repunten en el 2010 y en 2011 gracias al estímulo fiscal de art. 226 del ISR que contempla una ronda de financiamiento a cuenta de impuestos por parte de empresas de hasta 500 millones en total. Según insiders, la industria espera agotar este fondo en el primer trimestre del año que viene asegurando una buena cantidad de producciones. Por otra parte, en medio de la caldera política personas como el director e investigador Victor Ugalde, han afirmado ante diversos medios que se presentarán nuevas propuestas de reforma a la Ley Cinematográfica en octubre de este año.

Mientras, en frentes como Televisa, TvAzteca o en línea, se generan contenidos con sabores más cinematográficos empleando al talento nacional brindando recursos y de alguna forma ayudando en el “branding” personal de estos realizadores. La miniserie de Televisa Gritos de Muerte y Libertad contó con la dirección de Gerardo Tort y Mafer Suárez mientras que 13 formas de amar a mi México (título sensiblero de chocolate) de TvAzteca ha empleado los servicios de los reconocidos Guillermo Arriaga, Juan Carlos Bolado, Carlos Cuarón, Maria Novaro, Juan Carlos Rulfo, Alejandro Springall y Antonio Urrutia.

Hay producto, hay compromiso de los exhibidores, hay pelea por las fechas de estreno, hay financiamiento por parte del gobierno y los particulares. Hay premios internacionales y decenas de festivales locales. Hay cortometrajes, largos, ficción y documentales. Hay patrocinadores y “fierros” para hacerlas con calidad. No hay más excusas para el cine nacional. Basta con tener buen producto y buenas campañas que las vendan a la audiencia.




Oliver Meneses

DOES MOVIE MARKETING MATTER?

By media analyst Larry Gerbrandt excerpt from THR.

When a movie hits big, almost no one cares what was spent; when a release fails to make opening-weekend estimates or has a 60% drop-off during its second week, everyone begins pointing fingers.

Consider MGM's $30 million to tub-thump "Hot Tub Time Machine," which cost about $35 million to make: First-week gross was $20 million, dropping 60% the following week and winding up with $50 million in domestic gross. Or Disney's $200 million production "Prince of Persia: The Sands of Time," which has raked in $63 million domestically to date against a prints-and-advertising spend stateside of $75 million. 

On the other hand, Disney's "Alice in Wonderland," similar in cost and marketing budget to "Prince," has grossed $334 million domestically and $1 billion worldwide. 

In short, there might not be a more daunting challenge than opening a major motion picture: Create an internationally recognized brand name that lasts a lifetime, and do it in a couple of weeks with no second chances to course-correct. It's little wonder that the average P&A spend for major releases last year topped $37 million, according to Baseline Intelligence, the highest number since 2003, when the MPAA estimated that the six largest studios spent an average of $39.5 million on domestic P&A. Sometimes it works, sometimes not.

We've assembled a cornucopia of data that break down P&A spending by media category, release pattern and major studio, but the most interesting and consistent ratio to emerge is the relationship between negative cost and domestic P&A spend.

For the past seven years, domestic P&A has accounted for 34%-37% of combined production and domestic-releasing costs for movies released by the six largest studios.

In fact, after taking a big jump in 2003, the combined negative plus domestic P&A has hovered around the $100 million-a-film mark, with last year hitting $102.3 million, up from $87.9 million in 2008, according to Baseline Intelligence. (The MPAA stopped releasing six-studio stats in 2007.)

Looked at another way, for every dollar spent on producing a major film, the studios have been spending 51 cents-58 cents to release and market it in the U.S. and Canada. Assuming distributors get an average of 55% of domestic ticket sales, the average 2009 release had to generate $186 million in domestic boxoffice gross to recoup production and domestic-releasing costs -- an unrealistic goal for all but a handful of titles -- which is where the international brand-building challenge kicks in.

The connection between production budgets and P&A spend is repeated at the individual studio level.

Last year, Paramount had the highest average negative cost ($87.7 million) and highest P&A average ($50 million a release). Universal had the lowest average negative cost ($51.7 million) and lowest P&A ($30.4 million).

The "P" portion of prints and advertising represents less than 10% of the overall spend, and with digital distribution becoming more widespread it is heading downward. The actual cost of a print can vary widely depending on the volume of prints ordered, the film-release stock chosen, length of the movie and quality-control considerations. Prices can range from less than $1,000 to more than $3,000, but what the majors pay is based on volume deals cut in aggressive negotiations between high-level studio and lab executives and might include rebates from such film-stock manufacturers as Kodak and Fuji.

Through the years, there have been periodic attempts to control escalating P&A spending, which can soar to the $85 million range on tentpole releases involving 4,000 screens.

his includes finger-pointing at ego-driven demands by actors and directors to blanket major-city skylines with giant billboards and lavish creative campaigns, but Nielsen Ad*Views data suggest that the overwhelming portion of the spend is on television advertising. Last year, Nielsen estimates that of the $26.5 million in media spent on the opening weekend of a 2,000- to 5,000-screen release, 80% went to network, cable and spot TV buys.

In contrast to just about every other product release, a movie faces a singular challenge: It must create near-instant national brand-name recognition within a span of a few days to a couple of weeks. The only way to do this, especially with a highly visual product like a film, is with a well-crafted TV spot campaign.

While overall TV viewership is at record levels, it also is increasingly fragmented across dozens of channels. Spending on network TV actually has increased, from 35% of opening-weekend budgets in 2006 to 41% last year, in addition to an increase from 26% to 28% in cable-network spend. These increases have come largely at the expense of spot TV, down from 18% to 11%, and newspapers, down from 12% to 9%, Nielsen said.

At various points along the way, especially with the ascent of social media, there have been calls to shift a larger portion of media budgets to the Internet, especially given that medium's lower ad rates, massive inventory and ability to target key demographics.

This certainly has happened with limited- and medium-release movies. Those bowing on fewer than 500 screens have seen online-media spend jump from 5% in 2006 to 12% last year; 500- to 2,000-screen releases allocated 6% to the Web last year, double the 3% mark in 2006.

Industry peer pressure and second-guessing also play a part in keeping P&A spending trending upward.

"When a studio like Disney tries to rein in these costs, they are second-guessed and doubted for trying a new media mix and paradigm," says Jim Lukowitsch, product manager at Baseline Intelligence.

Web-delivered over-the-top (OTT) television might open additional opportunities for movie marketers, but at present the Internet remains a text-driven medium, and usage is so fragmented across tens of thousands of sites that it is difficult to buy in the massive tidal wave needed to create overnight brand awareness -- which is where TV outshines all other media, albeit for a premium price.

Indeed, TV spot rates are likely to rise as the economy improves and midterm elections, which could draw record TV campaign spending, further drive up spot pricing.

The big question facing movie marketers is how to deal with the declining DVD window.

Conventional wisdom has been that the massive spend around the opening theatrical window could be justified by the "afterglow" effect lasting into the DVD and even PPV/VOD windows. This was further justified by steady shrinkage of the theatrical-to-DVD window, lessening the need for a second big spend to promote the home video release. With Google TV entering the OTT fray -- all of which have movie rentals and subscriptions as core offerings -- it would be logical to see a further shift of ad spend to online.

What isn't likely to happen is a change in the need to create that initial brand awareness in the theatrical window. Although a small-budget release might bet on multiple Golden Globe and Oscar noms to give it a promotional push, that type of strategy is simply too risky for larger-budget movies.

It might be the ultimate example of that old adage, "You never get a second chance to make a first impression." With movies, it is an impression that lasts a lifetime.

The best film schools in the world.

A brief look at some of the key institutions from Sydney to Singapore.

From The Hollywood Reporter.

AUSTRALIA

The Australian Film, Television and Radio School 

The Australian Film, Television and Radio School has undergone some significant changes in the past two years, including the move to a new state-of-the-art campus in Sydney's film hub and an overhaul of the courses it offers to students and established industry practitioners. The 37-year-old national film school, funded annually by the Australian government with $22 million last year, holds a key position in the Australian film community with more than 2,000 graduates passing though its doors in that time. AFTRS alumni include Oscar-winning cinematographers like Dion Beebe ("Nine") and Andrew Lesnie ("The Lovely Bones") and director Jane Campion ("Bright Star"). An array of courses covering producing, digital media and visual effects, art direction, documentary, screenwriting, screen music, production design and editing are offered, but at the heart of the school are its award courses for new and emerging filmmakers. They include a foundation diploma, a graduate certificate and graduate diploma. Positions in those highly competitive courses are given each year on a merit system based on students' creative portfolios. 

-- Pip Bulbeck 

FRANCE

La Femis 

Only 3% of hopefuls who take the entrance exam get into la Femis, the country's most prestigious film school. Housed in Pathe's old studios on Paris' rue Francoeur, la Femis is a public institution under the French Ministry of Culture and Communication, meaning tuition is free to French students. It offers a well-rounded overview of the film business, including artistic development and technical training. Alumni include the creme-de-la-creme of French filmmaking, from Louis Malle, Alain Resnais and Costa-Gavras to newcomers like Francois Ozon, Laetitia Masson, Noemie Lvovsky and Rebecca Zlotowski. In their first year, students are initiated into all aspects of production before specializing in a specific field chosen from seven main departments: directing, editing, sound, set design, cinematography, screenwriting and production. "More than 500 professionals come each year to give special classes or speeches," says Marine Multier, head of communications. "This helps our students succeed in the professional world after they leave." 

-- Rebecca Leffler

GERMANY

Baden-Wurtemberg Film Academy 

While most European film schools focus on film history and the philosophy of cinema, at Baden-Wurtemberg they roll up their sleeves and get to work. When Roland Emmerich wanted a team to wipe out humanity for 1996's "Independence Day," he went to the Baden-Wurtemberg Film Academy. Emmerich's friend Volker Engel, who taught animation there, recruited 14 students and graduates who would go on to win the 1997 Oscar for visual effects. Known for its practical approach to filmmaking, the academy is a leader in animation and visual effects training. In 2007, trade magazine 3D World ranked it the second-best animation college in the world, just behind France's Supinfocom. The school fields regular nominees in the student Oscar race and has twice won the honor. Tike Constantin Hebbeln got it in 2006 for "Nimmermeer" and Thorsten Schmid in 1998 for "Rochade." On-the-job experience is a key part of the academy's teaching. Baden-Wurtemberg only admits students who have at least one of year of practical experience in the film business and two years for its producers program. The academy also works to expose students to an international network of filmmakers by organizing exchange programs with partner institutions like New York's School of Visual Arts and Poland's National School of Film and TV in Lodz. Every year, Baden-Wurtemberg also organizes a Hollywood workshop, including studio tours and internships with production companies in L.A. 

-- Scott Roxborough

INDIA

Whistling Woods International 

Despite being home to the world's largest film industry, just five years ago India was in need of better-equipped film institutes. Enter veteran filmmaker Subhash Ghai, who launched Whistling Woods International, Asia's largest film, TV, animation and media arts institute. Located on 20 acres in Mumbai's Film City studio complex and sponsored by Ghai's Mukta Arts (which has produced some of Bollywood's biggest hits), WWI's faculty is headed by dean John Jerome Lee, a former entertainment industry executive. Its advisory board includes acclaimed director Shyam Benegal and superstar Shah Rukh Khan, DreamWorks Animation's Shelley Page, "Elizabeth" director Shekhar Kapur and producer David Puttnam. "Almost 80% of people working in the industry don't have professional training and hence end up learning on the job, which was the impetus for us to launch WWI," says Ghai's daughter, Meghna Ghai Puri, who is also WWI's president. "It offers a unique, two-year MBA in media and entertainment (for) people who want to be executives in areas such as marketing and finance." Specializations include directing, cinematography and editing, along with animation and acting. But the school is expensive: Tuition is about $28,900 for the two-year program. 

-- Nyay Bhushan

ITALY 

Scuola Nazionale di Cinema -- Centro Sperimentale di Cinematografia 

Michelangelo Antonioni, Dino De Laurentiis, Vittorio Storaro and Italian screen icon Claudia Cardinale are just a few of the famous names who began their film education at the Centro Sperimentale, the oldest and most prestigious film school in Italy. Once accepted by the school's highly selective board, acting students study with leading man Giancarlo Giannini, cinematography students learn from Giuseppe Rotunno (Fellini's lenser on 1983's "And the Ship Sails On") and would-be directors work with helmer Roberto Faenza ("By the Light of Day"). Connected to the Cineteca Nazionale, one of the biggest film archives in Europe, the CSC regularly organizes seminars with international filmmakers, from Martin Scorsese to Wim Wenders. While continually upgrading its state-of-the-art equipment, Centro's tuition is a very reasonable at $2,000 per year for the two- and three-year programs. "One of Centro's peculiarities is its total effort in involving the students in all the movies made by CSC Production, and introducing graduates into working crews," says dean Andrea Crisanti. 

-- Martina Riva

JORDAN

Red Sea Institute of Cinematic Arts 

Offering the first and only MFA program in cinematic arts in the Middle East and North Africa, RSICA is a joint venture between the Royal Film Commission of Jordan and the School of Cinematic Arts at USC. Located in historic Aqaba (which any aspiring filmmaker should recognize from "Lawrence of Arabia"), RSICA launched in 2008, graduating its first class of 21 students in May 2002. With tuition in the $25,000 range, the school is another step forward for Jordan, which has garnered Hollywood's attention recently through an aggressive campaign to expand its burgeoning film sector. "Jordan is by far the most progressive and secular regime in that region," says James Hindman, dean and chief academic officer. "They started developing a media plan in 2003 which included a very active, western-style film commission as well as training for crews." With students coming from all over the region, including Lebanon, Kuwait, Syria and Iran, Hindman says the goal is to offer practical training that will allow them to "function on any film set in the world." "We want them to be able to eat," he adds with a laugh.

-- Kevin Cassidy

PHILIPPINES

The International Academy of Film and Television, Philippines 

Founded in 2004, the IAFT is located at Bigfoot Studios, a professional studio on the tropical resort island of Cebu, giving students access to state-of-the-art equipment and facilities. "The academy prides itself on bringing Hollywood to Asia and a hands-on approach to filmmaking education," says Mark Martin, IAFT's executive director. He notes that, through Bigfoot Entertainment, students get to work on the sets of feature films for international release. The academy offers various diplomas in filmmaking, design and acting, and recently started a nine-month professional immersion program that guarantees students experience on one feature film from preproduction to post. IAFT has also signed an agreement with Jacksonville University allowing graduates to enter Jacksonville's B.A. program as sophomores. About 70 students graduate each year, with fees ranging from $7,970-$14,290. 

-- Sonia Kolesnikov-Jessop 

University of the Philippines Film Institute 

The University of the Philippines Film Institute offers a four-year bachelor's degree in filmmaking, which combines film theory and production courses, as well as a master's degree in media studies. Both cost about $1,000 a year. The institute, which has about 75 film graduates a year, is equipped with basic camera and lighting equipment and has an editing lab for post production. In addition to lectures by notable Filipino cinematographers such as Nap Jamir and Neil Daza, the Institute offers workshops and short training courses covering all areas of production. "UPFI produces filmmakers, not technicians," notes senior lecturer Sari Delana. "Whether it is in mainstream filmmaking, independent filmmaking or television, many of our alumni have become directors." Recent alumni include helmers Raya Martin, who has had three films screened in Cannes, and Pepe Diokno, whose first feature, "Engkwentro," won the prize for best debut at Venice last year. 

-- Sonia Kolesnikov-Jessop 

SINGAPORE

Chapman University Singapore 

Chapman University's Dodge College of Film and Media Arts partnered with Ngee Ann Polytechnic in Singapore in 2008 to offer an accelerated two-year degree program in creative producing. Specifically designed for film or communications graduates, its emphasis is on "content development and the creation of international co-productions," says dean Robert Bassett. Students can participate in a summer internship in China or an immersion program in Los Angeles. In addition, Singaporean students can work with those in Chapman to produce cross-cultural documentaries. Fees vary from $4,900 a year for Singaporeans to $22,470 for foreign students, who graduate with a fully fledged BFA from Chapman. 

-- Sonia Kolesnikov-Jessop 

New York University, Tisch School of the Arts Asia 

Tisch opened its first international campus in Singapore in 2007, producing its initial class of graduates in May. The Asian campus now offers four MFA degrees in animation and digital arts, dramatic writing, film and international media producing. The curricula are identical to those at the school's New York Campus, explains the school's president, Pari Sara Shirazi. The schools even share some teachers, such as Todd Solondz and Oliver Stone, the artistic director of Tisch Asia. Singapore-based students have access to the New York campus' summer programs as well as internships, but are required to complete their studies in Singapore, at a cost of about $44,000 a year. The school's production facilities include two fully equipped teaching soundstages as well as access to a wealth of animation technology. "During the first year, students are immersed in both the art and craft of animation," says Jean-Marc Gauthier, director of the animation & digital arts department, Tisch Asia. 

-- Sonia Kolesnikov-Jessop 

TAIWAN 

National Taiwan University of Arts 

Counting Ang Lee, Hsiao-Hsien Hou and Chung-Hou Wang (Tung Wang) among its alumni, the Taipei university has had an independent department of motion pictures since 1981 and now features eight full-time faculty members and 20 part-timers. Its bachelor's and master's programs offer hands-on production experience, coupled with a broad exposure to the liberal arts. Students can choose between two course tracks: film production or cinema studies. To graduate with a master's, they must complete either a thesis or a creative work in the form of screenplay or film production. Since 1999, the department has held the Golden Lion International Student Film Awards, Taiwan's only student film competition recognized at an international level. 

-- Sonia Kolesnikov-Jessop 

UNITED KINGDOM

National Film and Television School 

Oscar-winning animation guru Nick Park, award-winning cinematographer Roger Deakins and directors Lynne Ramsay, David Yates and Michael Caton-Jones all share this: They went to the U.K.'s National Film and Television School. The school offers two yearlong post-graduate M.A. courses in specific arenas, like directing or cinematography. "Our competitors abroad offer much longer courses and are more generalist," notes NFTS director and veteran producer Nik Powell. "Our courses are intense from the word go and not leisurely." Located on the outskirts of London, NFTS boasts the largest exclusive stage facilities for any school other than the Australian National Film School. 

-- Stuart Kemp