eOne release The Girl on The Train in cinemas October 6.
Since its acquisition by eOne in 2011, Hopscotch-eOne Anz has become a global player. If speaks to three of the team — Jude Troy, eOne Anz.s Evp, TV Development and Acquisitions, Lucy Hill, eOne Anz.s Head of Acquisitions and Maeva Gatineau, Hopscotch Features. Senior Vice President of Production — about the restructure, the distribution game and the landscape in 2016. What are your roles at eOne?
Hill: I head up acquisitions for eOne Australia and New Zealand, which means that I coordinate for our team, which includes Jude as well as Troy Lum, Sandie Don, Jason Hernandez and Kata [Mandic]. We look at which films we want to buy, primarily for theatrical but also for our home entertainment platforms, the landscape for which is changing massively.
Troy: I joined in 2004 as a small partner at Hopscotch. Troy brought me in, [with] Sandie and Frank Cox at the time,...
Since its acquisition by eOne in 2011, Hopscotch-eOne Anz has become a global player. If speaks to three of the team — Jude Troy, eOne Anz.s Evp, TV Development and Acquisitions, Lucy Hill, eOne Anz.s Head of Acquisitions and Maeva Gatineau, Hopscotch Features. Senior Vice President of Production — about the restructure, the distribution game and the landscape in 2016. What are your roles at eOne?
Hill: I head up acquisitions for eOne Australia and New Zealand, which means that I coordinate for our team, which includes Jude as well as Troy Lum, Sandie Don, Jason Hernandez and Kata [Mandic]. We look at which films we want to buy, primarily for theatrical but also for our home entertainment platforms, the landscape for which is changing massively.
Troy: I joined in 2004 as a small partner at Hopscotch. Troy brought me in, [with] Sandie and Frank Cox at the time,...
- 9/12/2016
- by Harry Windsor
- IF.com.au
eOne release The Girl on The Train in cinemas October 6.
Since its acquisition by eOne in 2011, Hopscotch-eOne Anz has become a global player. If speaks to three of the team — Jude Troy, eOne Anz.s Evp, TV Development and Acquisitions, Lucy Hill, eOne Anz.s Head of Acquisitions and Maeva Gatineau, Hopscotch Features. Senior Vice President of Production — about the restructure, the distribution game and the landscape in 2016. What are your roles at eOne?
Hill: I head up acquisitions for eOne Australia and New Zealand, which means that I coordinate for our team, which includes Jude as well as Troy Lum, Sandie Don, Jason Hernandez and Kata [Mandic]. We look at which films we want to buy, primarily for theatrical but also for our home entertainment platforms, the landscape for which is changing massively.
Troy: I joined in 2004 as a small partner at Hopscotch. Troy brought me in, [with] Sandie and Frank Cox at the time,...
Since its acquisition by eOne in 2011, Hopscotch-eOne Anz has become a global player. If speaks to three of the team — Jude Troy, eOne Anz.s Evp, TV Development and Acquisitions, Lucy Hill, eOne Anz.s Head of Acquisitions and Maeva Gatineau, Hopscotch Features. Senior Vice President of Production — about the restructure, the distribution game and the landscape in 2016. What are your roles at eOne?
Hill: I head up acquisitions for eOne Australia and New Zealand, which means that I coordinate for our team, which includes Jude as well as Troy Lum, Sandie Don, Jason Hernandez and Kata [Mandic]. We look at which films we want to buy, primarily for theatrical but also for our home entertainment platforms, the landscape for which is changing massively.
Troy: I joined in 2004 as a small partner at Hopscotch. Troy brought me in, [with] Sandie and Frank Cox at the time,...
- 9/12/2016
- by Harry Windsor
- IF.com.au
Though the market seemed slow on the surface, the usual sales got made: the larger companies selling almost out, the smaller ones busily speaking with others, selling here and there, worrying if this would get better, worse, or stay the same.
Meanwhile fascinating and energizing conversations were carried on with friends, newcomers, keepers of funds, representatives of countries and their needs to internationalize, to join forces with one another to create new models, internationalize, form cross cultural competent and cooperative ways of working together. We know the past model is failing to keep up with the technology and its fast spawning product. Some would say the old model is old and frail, sucking its old teeth as it pretends to carry on, but in reality, it is carrying its own corpse upon its shoulders. I would never go so far as to say this; the model will be changed, refined and redesigned, but it will survive because some people enjoy theatrical settings and that helps further other sales
FBI Casting Director Beatrice Kruger (now working on Fatih Akin¹s The Cut) spoke to us over dinner at Einsteins about her experience on Woody Allen¹s To Rome With Love, how he got involved in the real life politics of Italy as he attempted to cast real newscasters in the roles they play in real life. He didn't want the right wingers. He didn't like them, but he was told he had to hire them if he wanted to access the government monies, ...besides, how could he cast a left wing newscaster into the role off a right wing commentator? The experience of Italian politics did not make him happy.
Frank Cox, the founder of the Australian arthouse distributor Hopscotch which has been sold to eOne Entertainment, was in the Scandinavian Pavilion and told me he is still carrying on though on a smaller scale with his original company, New Vision Distribution. He recently acquired We¹re The Best by Lucas Moodyson, a darling film that showed in Cannes and Toronto and totally endeared me to its 13 year old girls as they searched for ways to get into trouble. (Magnolia has U.S.)
Robbie Little and Elie Mechoulam, Director of Sales and Marketing of The Little Film Company tallying up that $30,000,000 at the box office at $11 per ticket is only 3 million admissions, or 300,000 tickets sold...TV would be failure if it had such numbers. TV makes $46 million in ad sales on one episode of a great series...
Andrea Kaul, the EFM¹s new Co-Director who comes from Rtl TV and ad sales was not at that conversation, but when we spoke after the market was finished, such a topic as episodic content and online ad sales was also on her mind. The Berlinale screening of Netflix¹s second installment of Houses of Cards was a great success in the last days of the Berlinale, which was in itself food for thought. Even Dieter Kosslick, in his interview with Indiewire¹s Eric Kohn (Read Here) said, "We showed, for the first time in history, House of Cards. We have never done such a thing before. Heads were turning last night. Last year, we had [Jane Campion¹s TV series] Top of the Lake (in its entirety),so we are starting this new whole world."
Ted Hope of Fandor pointed out, "Research company Markets and Markets predicts global video-on-demand (VOD) revenue will grow from $21 billion last year to $45 billion in 2018. They define this as the combined revenues of all VOD outlets, worldwide ‹ essentially digital (online) VOD plus cable & satellite VOD. Huge numbers, but actually not a particularly high compound annual growth rate (16%) to get to the $45b number in years. Figure roughly half of this revenue flows to content owners and half to the VOD outlets."
To see the excitement of young people just beginning...everything to gain and little to lose, learning to like what they are doing to further their aims at telling stories their way. When I spoke with Wafa Tajdin, a founding partner and lead producer at Seven Thirty Films, an Africa based indie production company she runs with her sister, artist and film maker Amirah Tajdin. This Arab Indian pair of sisters is working to tell their stories of growing up in Kenya and living in Dubai...I asked which parent was what and was told that each parent was also half Arab, half Indian, the same sexes too...I should have told them about Peter, whose Italian Jewish parents also lived in such a ghetto of mixed marriages in east Harlem in the 1910s and 1920s. These are the stories which are forming in world cinema today. You can see her work Here
True cross-culture creation is taking place in the Talents section of the Efm. Eleven films of former Talent Campus participants are showing in the festival this year
One talent, Sompot Chidgasornpongse has formed a new international sales agency (and distribution company) called Mosquito. Thailand¹s leading independent filmmakers Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives), Pimpaka Towira (One Night Husband), Aditya Assarat (Hi-So), Soros Sukhum (Wonderful Town), Anocha Suwichakornpong (Mundane History), and Lee Chatametikool have joined hands to open Mosquito Films Distribution. The new company will handle international sales and festival distribution for the partners¹ films as well as upcoming titles from the new generation of Southeast Asian filmmakers. - See more Here
Ben Gibson of London Film School,Ira Deutchman of Colombia Film School, German film school dffb, Frances La Femis, Fescac the Romanian Film and Theater University are continuing their initiative Making Waves, bringing in students to work collaboratively to develop creative campaigns, edit trailers, design posters and plan roll-out packages for actual independent movies in the Efm.
Also exciting was the search for new models, not only in the film world of funding by government organizations, but of society as discussed in such films as Göran Hugo Olsson¹s (Black Mix Tapes) Concerning Violence and Hubert Sauper¹s We Come as Friends , and of women in society. 50% of public funds should be made available for women who not only constitute 50% of the public as moviegoers and should represent 50% of the cinephiles (those working in the film business) but 50% of all societies and therefore should have 50% of the voice of public policy.
In its second year, the Dortmund Women's Film Festival drew even more women to hear and discuss the status of women in the film business and gender parity. Speakers such as Heike Meyer-Döring of the Creative Europe Desk of Film and Medienstiftung Nrw, Bosnian filmmaker and Golden Bear Winner in 2006 Jasmila Zbanic, So-in Hong of the Seoul International Womens Film Festival speaking on aims and projects of the Asian Women Film Network, Melissa Silverstein of the Athena Film Festival and blogger on Women and Hollywood updating on the status of women filmmakers in the U.S., Mariel Macia of Mica/ Cima, Spain speaking of the proposal for the EU Commission regarding gender equality on state aid for film - all these and more, like Claudia Landsberger head of Eye International, Film Institute Netherlands hosting a panel of Susana de la Sierra, General Director of Icaa, Spanish Film Institute noting that 7% of the leading roles were women and the 2007 Law for Gender Equality, Cornelia Hammelmann, Project Director of the German Federal Fund, Sanja Ravlic, President of the Gender Equality Study Group of Eurimages, Croatia -- all spoke of what seems as obvious as the noses on our faces, but which has made little impact on the reality of policies yet... We had so many more conversations, I wish I could put them all here.
With all the ideas circulating, one could hardly say that the Berlinale and the European Film Market were not busy.
Meanwhile fascinating and energizing conversations were carried on with friends, newcomers, keepers of funds, representatives of countries and their needs to internationalize, to join forces with one another to create new models, internationalize, form cross cultural competent and cooperative ways of working together. We know the past model is failing to keep up with the technology and its fast spawning product. Some would say the old model is old and frail, sucking its old teeth as it pretends to carry on, but in reality, it is carrying its own corpse upon its shoulders. I would never go so far as to say this; the model will be changed, refined and redesigned, but it will survive because some people enjoy theatrical settings and that helps further other sales
FBI Casting Director Beatrice Kruger (now working on Fatih Akin¹s The Cut) spoke to us over dinner at Einsteins about her experience on Woody Allen¹s To Rome With Love, how he got involved in the real life politics of Italy as he attempted to cast real newscasters in the roles they play in real life. He didn't want the right wingers. He didn't like them, but he was told he had to hire them if he wanted to access the government monies, ...besides, how could he cast a left wing newscaster into the role off a right wing commentator? The experience of Italian politics did not make him happy.
Frank Cox, the founder of the Australian arthouse distributor Hopscotch which has been sold to eOne Entertainment, was in the Scandinavian Pavilion and told me he is still carrying on though on a smaller scale with his original company, New Vision Distribution. He recently acquired We¹re The Best by Lucas Moodyson, a darling film that showed in Cannes and Toronto and totally endeared me to its 13 year old girls as they searched for ways to get into trouble. (Magnolia has U.S.)
Robbie Little and Elie Mechoulam, Director of Sales and Marketing of The Little Film Company tallying up that $30,000,000 at the box office at $11 per ticket is only 3 million admissions, or 300,000 tickets sold...TV would be failure if it had such numbers. TV makes $46 million in ad sales on one episode of a great series...
Andrea Kaul, the EFM¹s new Co-Director who comes from Rtl TV and ad sales was not at that conversation, but when we spoke after the market was finished, such a topic as episodic content and online ad sales was also on her mind. The Berlinale screening of Netflix¹s second installment of Houses of Cards was a great success in the last days of the Berlinale, which was in itself food for thought. Even Dieter Kosslick, in his interview with Indiewire¹s Eric Kohn (Read Here) said, "We showed, for the first time in history, House of Cards. We have never done such a thing before. Heads were turning last night. Last year, we had [Jane Campion¹s TV series] Top of the Lake (in its entirety),so we are starting this new whole world."
Ted Hope of Fandor pointed out, "Research company Markets and Markets predicts global video-on-demand (VOD) revenue will grow from $21 billion last year to $45 billion in 2018. They define this as the combined revenues of all VOD outlets, worldwide ‹ essentially digital (online) VOD plus cable & satellite VOD. Huge numbers, but actually not a particularly high compound annual growth rate (16%) to get to the $45b number in years. Figure roughly half of this revenue flows to content owners and half to the VOD outlets."
To see the excitement of young people just beginning...everything to gain and little to lose, learning to like what they are doing to further their aims at telling stories their way. When I spoke with Wafa Tajdin, a founding partner and lead producer at Seven Thirty Films, an Africa based indie production company she runs with her sister, artist and film maker Amirah Tajdin. This Arab Indian pair of sisters is working to tell their stories of growing up in Kenya and living in Dubai...I asked which parent was what and was told that each parent was also half Arab, half Indian, the same sexes too...I should have told them about Peter, whose Italian Jewish parents also lived in such a ghetto of mixed marriages in east Harlem in the 1910s and 1920s. These are the stories which are forming in world cinema today. You can see her work Here
True cross-culture creation is taking place in the Talents section of the Efm. Eleven films of former Talent Campus participants are showing in the festival this year
One talent, Sompot Chidgasornpongse has formed a new international sales agency (and distribution company) called Mosquito. Thailand¹s leading independent filmmakers Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives), Pimpaka Towira (One Night Husband), Aditya Assarat (Hi-So), Soros Sukhum (Wonderful Town), Anocha Suwichakornpong (Mundane History), and Lee Chatametikool have joined hands to open Mosquito Films Distribution. The new company will handle international sales and festival distribution for the partners¹ films as well as upcoming titles from the new generation of Southeast Asian filmmakers. - See more Here
Ben Gibson of London Film School,Ira Deutchman of Colombia Film School, German film school dffb, Frances La Femis, Fescac the Romanian Film and Theater University are continuing their initiative Making Waves, bringing in students to work collaboratively to develop creative campaigns, edit trailers, design posters and plan roll-out packages for actual independent movies in the Efm.
Also exciting was the search for new models, not only in the film world of funding by government organizations, but of society as discussed in such films as Göran Hugo Olsson¹s (Black Mix Tapes) Concerning Violence and Hubert Sauper¹s We Come as Friends , and of women in society. 50% of public funds should be made available for women who not only constitute 50% of the public as moviegoers and should represent 50% of the cinephiles (those working in the film business) but 50% of all societies and therefore should have 50% of the voice of public policy.
In its second year, the Dortmund Women's Film Festival drew even more women to hear and discuss the status of women in the film business and gender parity. Speakers such as Heike Meyer-Döring of the Creative Europe Desk of Film and Medienstiftung Nrw, Bosnian filmmaker and Golden Bear Winner in 2006 Jasmila Zbanic, So-in Hong of the Seoul International Womens Film Festival speaking on aims and projects of the Asian Women Film Network, Melissa Silverstein of the Athena Film Festival and blogger on Women and Hollywood updating on the status of women filmmakers in the U.S., Mariel Macia of Mica/ Cima, Spain speaking of the proposal for the EU Commission regarding gender equality on state aid for film - all these and more, like Claudia Landsberger head of Eye International, Film Institute Netherlands hosting a panel of Susana de la Sierra, General Director of Icaa, Spanish Film Institute noting that 7% of the leading roles were women and the 2007 Law for Gender Equality, Cornelia Hammelmann, Project Director of the German Federal Fund, Sanja Ravlic, President of the Gender Equality Study Group of Eurimages, Croatia -- all spoke of what seems as obvious as the noses on our faces, but which has made little impact on the reality of policies yet... We had so many more conversations, I wish I could put them all here.
With all the ideas circulating, one could hardly say that the Berlinale and the European Film Market were not busy.
- 2/27/2014
- by Sydney Levine
- Sydney's Buzz
eOne Appoints Co-Founder Of Its Aussie Unit To Head Distribution There Entertainment One has promoted Sandie Don to head of distribution for its Australian operation, Hopscotch. Don will oversee theatrical distribution for Hopscotch/eOne including acquisitions, sales and marketing. She previously was marketing and acquisitions director. Along with partners Troy Lum and Frank Cox, Don formed Hopscotch Films in 2002; it was acquired by eOne in 2011. Homegrown ‘Tiny Times’ Wows With $30.8M Opening In China Tiny Times, a Shanghai-set romcom revolving around four girlfriends, had a huge opening weekend in China, putting it on a par with last year’s breakout comedy Lost In Thailand. According to Film Biz Asia, the movie amassed $30.8M in three days. Including previews, it earned $42M in four days. The film is the directorial debut of novelist Guo Jingming and had a 45% market share for the weekend. Meanwhile, Man Of Steel and Jet Li-...
- 7/2/2013
- by NANCY TARTAGLIONE, International Editor
- Deadline TV
Entertainment One has promoted Sandie Don to head of distribution for its Australian business, Hopscotch/eOne.
In her role, Don will oversee theatrical distribution for Hopscotch/eOne including acquisitions, sales and marketing.
Don, who previously held the role of marketing and acquisitions director, will continue to focus on both the acquisition and distribution of local and international productions as well as the prolific and commercial line up from eOne output partners including Summit and Lakeshore.
Don formed Hopscotch Films in 2002 with partners Troy Lum and Frank Cox. The company is one of Australia’s leading independent film distributors and was subsequently acquired by eOne in 2011.
Don has spearheaded theatrical release campaigns including The Sapphires, Incendies, Source Code, Pan’s Labyrinth, The Wrestler, Vicky Cristina Barcelona, Mao’s Last Dancer, The Kids Are All Right, Barney’s Version and Midnight in Paris.
Prior to joining Hopscotch, she headed marketing and publicity for Australian distribution company Dendy Films, creating...
In her role, Don will oversee theatrical distribution for Hopscotch/eOne including acquisitions, sales and marketing.
Don, who previously held the role of marketing and acquisitions director, will continue to focus on both the acquisition and distribution of local and international productions as well as the prolific and commercial line up from eOne output partners including Summit and Lakeshore.
Don formed Hopscotch Films in 2002 with partners Troy Lum and Frank Cox. The company is one of Australia’s leading independent film distributors and was subsequently acquired by eOne in 2011.
Don has spearheaded theatrical release campaigns including The Sapphires, Incendies, Source Code, Pan’s Labyrinth, The Wrestler, Vicky Cristina Barcelona, Mao’s Last Dancer, The Kids Are All Right, Barney’s Version and Midnight in Paris.
Prior to joining Hopscotch, she headed marketing and publicity for Australian distribution company Dendy Films, creating...
- 7/1/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
This article first appeared in If Magazine Issue #150.
Troy Lum couldn.t have picked two more different features to mark the launch of his new production company: I, Frankenstein and Two Mothers. One, a reimaging of the classic horror tale; the other, a controversial story about two mothers who sleep with each other.s teenage sons.
Not so says Lum.
.Although those two films in isolation look really different to each other, they share some sort of commonality, which is the films have a real global potential. And there.s a certain scale that takes them beyond your sort of kitchen sink Australian movie and that.s kind of the aim..
Both films have notable cast (Aaron Eckhart in I, Frankenstein and Naomi Watts and Robin Wright in Two Mothers) and scale. In the case of I, Frankenstein, that scale amounts to a $50 million budget. But while few Australian production...
Troy Lum couldn.t have picked two more different features to mark the launch of his new production company: I, Frankenstein and Two Mothers. One, a reimaging of the classic horror tale; the other, a controversial story about two mothers who sleep with each other.s teenage sons.
Not so says Lum.
.Although those two films in isolation look really different to each other, they share some sort of commonality, which is the films have a real global potential. And there.s a certain scale that takes them beyond your sort of kitchen sink Australian movie and that.s kind of the aim..
Both films have notable cast (Aaron Eckhart in I, Frankenstein and Naomi Watts and Robin Wright in Two Mothers) and scale. In the case of I, Frankenstein, that scale amounts to a $50 million budget. But while few Australian production...
- 2/12/2013
- by Brendan Swift
- IF.com.au
In this roundup from the Encore and Mumbrella Annual, we look back at the year in film.
——————————————————————————————————–
With George Miller’s Happy Feet Two opening on Boxing Day, Mumbles the penguin and his friends are still doing a roaring trade at the box office throughout January, taking $11.08m in total.
————————————————–
Hollywood director James Cameron opens an Australian office of his company Cameron Pace Group in mid-January to be run by managing director Andrew Wight, producer of Sanctum. Wight sadly dies in a helicopter crash in early February with ocean cinematographer Mike deGruy.
——————————————————————————————————–
The Australian Film Institute launches the new-look Australian Academy of Cinema and Television Arts Awards with Red Dog winning best film. Justin Kurzel picks up a gong for best direction for Snowtown. Legendary cinematographer Don McAlpine receives the Raymond Longford award for lifetime achievement.
——————————————————————————————————–
Director Alex Proyas’s Paradise Lost, due to shoot at Fox Studios, is scrapped due to a budgetary dispute.
——————————————————————————————————–
With George Miller’s Happy Feet Two opening on Boxing Day, Mumbles the penguin and his friends are still doing a roaring trade at the box office throughout January, taking $11.08m in total.
————————————————–
Hollywood director James Cameron opens an Australian office of his company Cameron Pace Group in mid-January to be run by managing director Andrew Wight, producer of Sanctum. Wight sadly dies in a helicopter crash in early February with ocean cinematographer Mike deGruy.
——————————————————————————————————–
The Australian Film Institute launches the new-look Australian Academy of Cinema and Television Arts Awards with Red Dog winning best film. Justin Kurzel picks up a gong for best direction for Snowtown. Legendary cinematographer Don McAlpine receives the Raymond Longford award for lifetime achievement.
——————————————————————————————————–
Director Alex Proyas’s Paradise Lost, due to shoot at Fox Studios, is scrapped due to a budgetary dispute.
- 12/24/2012
- by Luke
- Encore Magazine
The co-founder of one of Australia’s best known film distribution companies has stepped down. Frank Cox will depart Hopscotch/Entertainment One immediately.
Cox established Hopscotch Films, which currently has Australian-made film The Sapphires doing well in local box office, with partners Troy Lum and Sandie Don in 2002. Lum will continue as head of eOne’s Australian operations, and Don as marketing and acquisitions director.
In April, 2011 Hopscotch was acquired by Canadian based company Entertainment One for $20m.
Cox said of his departure: “This decision was bittersweet. I’m very proud of the Hopscotch team and grateful for the truly amazing work they’ve done to attract and showcase Australian talent over the past 10 years. I am certain that Troy and Sandie will continue to lead the gifted and hardworking Hopscotch team and I’m excited to watch the business continue to grow.”
Cox began touring feature films in 1970 and...
Cox established Hopscotch Films, which currently has Australian-made film The Sapphires doing well in local box office, with partners Troy Lum and Sandie Don in 2002. Lum will continue as head of eOne’s Australian operations, and Don as marketing and acquisitions director.
In April, 2011 Hopscotch was acquired by Canadian based company Entertainment One for $20m.
Cox said of his departure: “This decision was bittersweet. I’m very proud of the Hopscotch team and grateful for the truly amazing work they’ve done to attract and showcase Australian talent over the past 10 years. I am certain that Troy and Sandie will continue to lead the gifted and hardworking Hopscotch team and I’m excited to watch the business continue to grow.”
Cox began touring feature films in 1970 and...
- 9/4/2012
- by Colin Delaney
- Encore Magazine
Australian distributor Hopscotch Films has been acquired by distributor and sales agent Entertainment One, for $20m.
“The Australian market presents an exciting opportunity for eOne, both to build on its existing operations worldwide and to acquire and exploit film titles for a larger group of territories,” said Entertainment One’s president and CEO Darren Throop.
The deal allows eOne to expand its international film distribution infrastructure, adding to its operations in Canada, the UK, Benelux and the Us. The acquisition will also enable eOne to have direct access into the Australian market for exploitation of the television titles produced by its own television business.
“This deal enables Hopscotch to flourish as part of a larger international group. It’s clear that eOne has successfully built a unique multi-territory film distribution operation,” added Hopscotch managing director Troy Lum.
According to Entertainment One, the deal is payable by the issue of 4,126,636 million...
“The Australian market presents an exciting opportunity for eOne, both to build on its existing operations worldwide and to acquire and exploit film titles for a larger group of territories,” said Entertainment One’s president and CEO Darren Throop.
The deal allows eOne to expand its international film distribution infrastructure, adding to its operations in Canada, the UK, Benelux and the Us. The acquisition will also enable eOne to have direct access into the Australian market for exploitation of the television titles produced by its own television business.
“This deal enables Hopscotch to flourish as part of a larger international group. It’s clear that eOne has successfully built a unique multi-territory film distribution operation,” added Hopscotch managing director Troy Lum.
According to Entertainment One, the deal is payable by the issue of 4,126,636 million...
- 4/11/2011
- by Miguel Gonzalez
- Encore Magazine
Global entertainment group Entertainment One will acquire Sydney-based distributor Hopscotch Group for £12.9 million ($20.07 million). The deal will prove a windfall for the company's owners: Troy Lum, Frank Cox and Sandie Don, who will be issued more than 4.1 million shares in eOne and approximately £6.45 million in cash as part of the deal. They will remain with the company, which will form part of eOne.s Filmed Entertainment division headed by Patrice Theroux, after the deal is completed early next month. Hopscotch posted unaudited revenue of approximately £11.9 million ($18.51 million) and earnings before interest, tax, depreciation and amortisation (Ebitda) of approximately £1.9 million ($2.95 million) in the year ended June 2010. The acquisition...
- 4/11/2011
- by Brendan Swift
- IF.com.au
Sydney -- This week's release of Scott Hicks' new Australia-u.K. co-production "The Boys Are Back" is part of a hectic few months for Hopscotch Film Distribution, sandwiched between the release of Bruce Beresford's "Mao's Last Dancer" last month and Jane Campion's "Bright Star" on Dec. 26.
If those three films mark a high point for the Australian company's distribution biz, they're also providing a pathway for its evolution into a production and financing operation.
One of Oz's leading distributors, Hopscotch is a private partnership of managing director Troy Lum, director of acquisitions and marketing Sandie Don and president and industry pioneer Frank Cox. The outfit set up shop in 2003 with the release of "Bowling for Columbine," the highest-grossing doc in Australia. But its biggest success is "Mao's Last Dancer."
"Dancer" marked the first time it has co-released a title with another distributor, and the partnership with Roadshow Films has paid off.
If those three films mark a high point for the Australian company's distribution biz, they're also providing a pathway for its evolution into a production and financing operation.
One of Oz's leading distributors, Hopscotch is a private partnership of managing director Troy Lum, director of acquisitions and marketing Sandie Don and president and industry pioneer Frank Cox. The outfit set up shop in 2003 with the release of "Bowling for Columbine," the highest-grossing doc in Australia. But its biggest success is "Mao's Last Dancer."
"Dancer" marked the first time it has co-released a title with another distributor, and the partnership with Roadshow Films has paid off.
- 11/19/2009
- by By Pip Bulbeck
- The Hollywood Reporter - Movie News
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