Brahim Chioua (Enter the void - Wild Bunch Distribution)30 avril 2010 - Didier Verdurand

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Ancien dirigeant du Studio Canal, Brahim Chioua est l'un des fondateurs de Wild Bunch Distribution dont il est aujourd'hui le directeur général. Wild Bunch, c'est un catalogue qui réserve quelques jolies pépites comme La Nuit nous appartient et Two lovers pour ne citer qu'elles. Le 5 mai sortira en France sur une trentaine de copies le nouveau film de Gaspar Noé, Enter the void. L'occasion de faire le point avec un expert de la distribution.

Wild Bunch a distribué l'année dernière le plus gros succès français, Le Petit Nicolas (5,5 millions d'entrées). Y a-t-il un effet conséquent ?

Pour le moral des troupes, c'est toujours bien d'avoir un film qui marche aussi bien. La distribution est un métier difficile car il y a plus de films qui ne marchent pas que le contraire. Quand on a un film à l'affiche, c'est la bagarre tous les lundi pour conserver des salles, pour en gagner des nouvelles... Il faut se donner un objectif et voir combien le film fait à l'arrivée, voilà comment on détermine si un film est un succès ou non. 80 000 entrées peut nous satisfaire si on pensait en faire 40 000. Et 1,5 million d'entrées peut être un échec si on devait faire 2 millions. Le Petit Nicolas et Paranormal activity étaient largement au-dessus de ce qu'il fallait, donc tout d'abord, ça met du beurre dans les épinards et ensuite, l'équipe travaille de manière plus sereine, surtout que notre début d'année était loin d'être à la hauteur de ce qu'on attendait avec notamment Loin de la terre brûlée puis Les derniers jours du monde.

Paranormal activity est un sacré coup !

Nous l'avions acheté à l'AFM (American Film Market) en novembre 2008. Trois personnes de chez nous l'avaient vu avant même qu'il soit terminé et ont vu un potentiel intéressant. Nous avons hésité car pour ce type de film, il faut une sortie américaine couronnée d'un beau succès pour créer un buzz sinon il passe inaperçu comme beaucoup de petits films indépendants. Là, quand on l'achète, il n'a même pas de distributeur américain ! Elles ont eu du nez et ont largement été remerciées.

Quand on se prend un -60% en deuxième semaine, qu'est-ce qu'on en conclut ?

C'est le type de film qui multiplie sa première semaine au mieux par trois. Vous avez un tel engouement, une telle médiatisation, que tout le monde se précipite au départ. Même si le bouche à oreilles est bon, vous multipliez par trois. S'il n'est pas excellent comme c'était le cas, vous multipliez par deux. Certains ont crié au scandale et d'autres ont déclaré ne jamais avoir eu aussi peur de leur vie donc au final...

Gros échec fin 2009 : Coco Chanel et Igor Stravinsky. N'était-ce pas mission impossible avec la sortie en début d'année d'un autre film sur Coco Chanel ?

Si. Quand nous nous sommes engagés, on ne savait pas qu'il y en avait un deuxième en préparation. Ensuite ce fut la course pour savoir qui serait prêt le premier et qui sortirait le premier car on savait que la prime irait au premier sorti. La production a perdu la bataille, c'est clair, à deux mois près. Donc nous avons décidé de l'éloigner le plus possible malgré la présentation à Cannes. Mais cela ne remet pas en cause la qualité de l'un ou l'autre film.

Quand a commencé l'aventure Enter the void ?

Il y a des années. J'en avais déjà parlé avec Gaspar dans une vie antérieure ! (RiresEnter the void était en développement chez Pathé et quand celui-ci s'est retiré du projet à cause d'une mésentente avec Gaspar par rapport au budget, il est arrivé chez nous. A l'époque où nous étions Studio Canal, nous avions co-produit et exploité en vidéo - et à l'étranger - Irréversible. Quand on a crée Wild Bunch, on a gardé les ventes à l'étranger. Les rapports avec Gaspar ne datent pas d'hier et il était naturel de se retrouver. Nous sommes en 2007. On a entre les mains un projet qui nous parait plus facile qu'Irréversible avec un réalisateur qui a fait ses preuves en France et à l'étranger où il est reconnu comme peu de réalisateurs français. Sans qu'on pense à lui pour des blockbusters, mais c'est un Nom. Irréversible a marché partout en vidéo. Notre pari était donc risqué mais pas démentiel.

Vous intervenez dans la création ?

Vincent Maraval chez nous et Olivier Delbosc chez Fidélité Films sont les deux producteurs qui ont accompagné Gaspar, également producteur. Ils discutent d'un certain nombre de choses surtout au moment du montage mais n'oublient pas que c'est le film de Gaspar, la liberté est essentielle. On s'est quand même un peu bagarré sur la longueur du film... mais la version finale est bien la sienne.

Arrive 2009...

... Et le marché mondial n'est plus du tout le même qu'en 2007. La crise financière est passée par là. Partout. Aux Etats-Unis, il y avait des mini-studios américains qui pouvaient s'intéresser à ce type de film. Nous avions vendu La Marche de l'empereur à Warner Independant Pictures (77,4 millions de dollars de recettes) et Le Labyrinthe de Pan à Picturehouse (37,6 millions de dollars de recettes), par exemple. Nous avions aussi vendu aux frères Weinstein, Miramax, Fox Searchlight, Fine Line... Toutes ces boîtes ont disparu. Les studios ont diminué de 20% leurs frais de structure et ont fermé les filiales indépendantes. Aujourd'hui, il n'en reste que deux ou trois et encore, j'exagère. Le reste du monde ne va pas mieux et dans des pays difficiles, des sociétés ont aussi fermé. Et pas qu'à cause de la crise, je pense au Japon qui était un marché essentiel. Maintenant, les films japonais, coréens et américains représentent 95 ou 97% des films distribués là-bas. Ce qui était un pari raisonnable en 2007 était devenue une mission impossible en 2009. Nous devions faire entre 400 000 et 500 000 entrées avec nos prévisions. Désormais, c'est un nombre impossible qu'il faudrait atteindre... (levant les yeux très haut)

Vous présentez Enter the void à Cannes et cela ne se passe pas très bien.

Ce n'était peut-être pas le bon moment, il n'était pas terminé. Il a été plutôt très mal accueilli. Quelques-uns ont déjà crié au génie mais c'était loin d'être la majorité. Cela dit, je ne pense pas qu'on doit regretter d'y être allé. Autant je me pose la question avec Enter the void, autant je ne me la pose pas avec Ne te retourne pas où là, on aurait clairement du s'abstenir. Il s'est fait descendre comme j'ai rarement vu un film se faire descendre. Il ne méritait pas ça. On peut ne pas aimer mais à ce point là, ça s'est transformé en défouloir. Sa carrière était terminée. Cannes est un amplificateur, dans tous les sens.

Pour en revenir à la longueur, elle a été pas mal critiquée...

On s'y attendait un peu. On a toujours conseillé à Gaspar de couper et il a toujours défendu le contraire. Au bout du compte, nous laissons le dernier mot à l'auteur. Une version courte de 2h15 existe. Elle sera peut-être dans le DVD. Elle est approuvée par Gaspar - c'est lui qui l'a montée - mais il l'a considère moins bien que la version finale.

L'interdiction aux moins de 16 ans vous parait justifiée ?

Je l'aurais plus vu interdit aux moins de 12 ans avec avertissement. Après si vous me demandez si vraiment, un gamin de 12 ans peut trouver un intérêt à le voir... Pas forcément. Je ne sais pas. Mais je suis sûr que l'interdiction empêchera des ados de 14 ou 15 ans d'y aller alors qu'a priori, ils le verront de toute façon en DVD. Bon, on ne va pas non plus mettre une interdiction à tous les âges, ce n'est pas possible ! C'est vrai aussi qu'il y a des passages qui prêtent à discussion.

Vous êtes satisfait des ventes à l'international ?

Non. Les prix n'ont rien à voir avec ceux d'il y a quelques années. Enter the void n'est pas le seul concerné, c'est pour tout le monde la même chose. Il y a des pays comme l'Espagne où il est devenu très rare de vendre à un prix raisonnable. La Grèce, n'en parlons pas. En Amérique latine, un coup ça ne va pas au Mexique, puis en Argentine, ensuite au Brésil, parfois c'est les trois en même temps.  Enter the void sortira quasiment partout, mais à quel prix...

Passons à un film qui nous excite beaucoup à Ecran Large : Piranha 3D. Vous l'avez vu ?

Non. Il n'est pas fini, il reste à finaliser des effets spéciaux.

C'est un challenge de distribuer le film annoncé comme le plus gore de l'histoire du cinéma ?

Vous savez, on a déjà distribué Martyrs.

Le potentiel d'entrées est quand même différent !

C'est vrai, il devrait arriver comme un blockbuster. Pour nous, c'est le même type de sortie que pour Paranormal activity, nous profiterons de toute sa campagne. Ce sera plus facile encore puisque le réalisateur est français.

Quelle est votre implication dans Piranha 3D ?

Nous sommes acheteurs des droits. Et nous sommes à l'origine du projet qu'on a nous-mêmes développé avec un producteur américain. Alexandre n'était pas prévu à l'époque et nous n'étions pas d'accord sur le budget donc nous avons revendu les droits, à Weinstein, à condition que l'on garde les territoires français et italien. Weinstein a ensuite engagé Alexandre et j'en suis ravi car je le suis depuis ses début - Furia était produit par Studio Canal.

Ce sera votre deuxième film en 3D.

Oui, nous avions distribué un documentaire, Voyage sous les mers. Il n'était sorti qu'en 3D et le nombre de salles pouvant le passer n'était pas le même qu'aujourd'hui ou dans six mois. Nous sommes convaincus depuis longtemps que la 3D va donner un nouveau souffle au cinéma. Il faut faire la différence car aujourd'hui, le choix de film offert au public est trop important. Trop de films sortent chaque semaine. Si on n'innove pas, on finit par mourir à petit feu. Evidemment, la 3D ne rendra pas un film meilleur mais c'est un outil supplémentaire pour attirer. Attention aussi au cas rencontré avec Le Choc des titans où la 3D n'était pas réussie. Cela les a néanmoins aidé à faire plus d'entrées que s'il avait été lancé en 2D. Le piège est que le public finisse par croire qu'on se fout un peu de lui, surtout que la place est chère.

Un dernier mot sur Godard ? Pas déçu de ne pas être en compétition ?

Il s'en fout complètement. Il voulait avant tout que son film soit projeté dans la salle d'Un certain regard, c'est celle qu'il préfère à Cannes. Les gens n'y sont pas en smoking !

Quand on distribue un Godard, c'est pour le prestige ou bien vous croyez pouvoir faire des entrées ?

Ce n'est pas pour le prestige mais pour l'amour du cinéma. On fait une avant-première en VOD la veille de la sortie en salle. Nous l'avons décidé avec lui qui a toujours des idées pour l'exploitation des films, pour bouger les choses, échanger, etc...

Propos recueillis par Didier Verdurand.

Enter the void sort le 5 mai sur une trentaine de copies.

Film socialism sort le 19 mai.

Piranha 3D sort le 25 août.

 


 

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Li Ning's 2012 loss of practically two billion . 2014 initial half loss of 590 million . And inside the close to 2009 Li Ning in China mainland industry sales also exceeded Adidas. By the end of June 2010 , Li Ning that " rebranding " system, and make a "90 Li Ning" new consumer choice , the fact that it really is just no market-proven wishful thinking. Li Ning has been front and Adidas , Nike compete under stress to produce changes to be able to meet the 90, however the price artificially higher, the design and style is practically nothing new inside the field of technological innovation doesn't Plough 's paid off, counting around the new consumer groups agree with Li Ning international brands as well hasty. Li Ning in the starting of 2010 corporate restructuring , involving the positioning 90, to enter the international marketplace, the multi-brand management , could be a step by step strategic preparing for the camp , but seasoned a decline in cliff top management style shock and channel orders. The reason for the transformation from the enterprise will probably be forced for the atmosphere , or their desire for sustainable development , but fundamentally or to create new client worth. Though Li Ning seemingly features a new "customer choice", but following 90 groups do not acquire , since they didn't see the worth of, or that Li Ning just isn't their "food ." Unable to provide the value , indicating that the transition is just not a relatively easy overnight, corporate restructuring must be primarily based around the discovery of market opportunities and continue its positive aspects come , did a new LOGO in addition to a cool slogan can carry . "After 90 customer groups ," Li Ning to see market possibilities, but Li Ning advantage exactly where is it ? 1 , Li Ning brand and 70 , one can find 80 customers maintain emotional . two, the distribution network is relatively excellent. three , sponsored many sporting events, brand image to sustain requirements . 4, inside the high-end market place have price benefit inside the low-end industry has the benefit of style and technologies. If Li Ning inside the organization model design and style, the advantages may be combined with all the transformation of your above directions , the status quo might be a major distinction . The fact is, the product price tag is inflated , the brand image isn't prominent ; commit plenty of funds on sports sponsorship , but immediately after the game 's brand management and maintenance function can not efficiently comply with up ; Brand lack of effective communication using the target consumer group , the actual target customer group consumer group misplaced. In the operational level, the transformation of the enterprise have to be new organization and current business convergence is great , so as to ensure a smooth transition in transition , exactly where the test could be the worth with the organization procedure , which is, regardless of whether the efficient operating model , if there is certainly adequate cash flow to help create new organization. Li Ning intrinsic worth processes are particularly dependent around the dealer system, as well as the dealer has a substantial inventory hoarding , great market atmosphere in the past , when this inefficient mode isn't too much pressure , when market place competitors, international brand force, Li Ning the product is going to be piled up in the sales side, the direct outcome of a shortage of cash flow. Small business persons longing for the performance of inventory elevated until no longer afford and warehouse explosion , cliff -like decline in efficiency occurs is also not unexpected, the reality is this can be not all there is no sign , regardless of whether internal managers to conceal lots of inventory info is also unknown . In short, the old channel model caused the collapse of Li Ning . Multi-brand management and international businesses with the Sturm und Drang of conduct Li Ning , but additionally to find much more buyers and new profit space , the issue is multi-line job Ning inefficient below the operating technique , usually do not match the new business enterprise failure inevitable. Without the original business enterprise cash flow, new enterprise powerless life , old and new corporations are not profitable , so the transformation of victory?
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