No wonder Cinema Expo International selected Paramount Pictures International’s executive VP of distribution and operations, Roger Pollock, to receive the CEI 2008 “International Achievement in Distribution Award.” Noted Mitch Neuhauser, co-managing director of the 17th annual convention, “In the world of distribution, you couldn’t ask for a more dedicated and respected professional who has done so much for [his] company in bringing film into the hearts and minds of so many moviegoers internationally.”
“Our inaugural year was a banner one for PPI and the best ever for Paramount in the international marketplace,” Pollock proudly concurs. “The first quarter was up 33% on 2007 and, at the end of April, we are just over 29% ahead.” Naming $90 million successes such as The Spiderwick Chronicles and Cloverfield, along with an almost equally strong performance for Academy Award winner No Country for Old Men around the time when Iron Man was fanning the box-office flame and forging his blockbuster status, Pollock sees an even brighter picture. “At this very moment in time, we are forecasting another record year for the company.”
“It is all about the product,” Pollock says, responding to concerns that this kind of success can become a bit daunting. “Having said that, the product just keeps on coming.” Already gearing up for 2009 are Monsters vs. Aliens, Transformers 2 and G.I. Joe. On his personal watch list for this year is Eagle Eye, which he describes as a Bourne Identity-style thriller. “Our first British film production is released at the end of July in the U.K. first. Angus, Thongs and Perfect Snogging looks to be the perfect little sleeper hit for the summer months,” he believes.
Although this comedy represents the very first co-production for PPI as well, Pollock knows it will not be their last. “This is very much part of our mandate. We recently announced the transmission deal for Australia and PPI now has acquisition directors in France and the U.K. We are currently also looking for executives in Spain, where we will begin our own operations on July 16, and Mexico. It is a question of getting the infrastructure in place in order to do it well. It’s easy to say that we are going to get into the local-language co-production business, but it’s another to be able to react quickly and do sensible deals. We have now pretty much set the framework in place for what I hope will be a very aggressive international acquisitions and co-production unit.”
When Pollock called in from his very busy Cannes schedule to speak with Film Journal International’s readers, the next big deal about to happen was all about a certain Crystal Skull. “Right now, the one I look forward to the most is Indy,” he enthused during Cannes. “For us the question is not if the film is going to be big, the question is just how big will it be? Nineteen years have passed since Indy 3 and the tracking in all the major international territories where we check awareness and interest is at levels that I have certainly never seen before.” And that from someone who, during his 21 years in theatrical distribution, has definitely dealt several hands full of hits.
Counting The Godfather films among his all-time personal favorites, Pollock began his career in the media and entertainment industry in 1982 at the British Broadcasting Corporation (BBC). Five years later, he joined United International Pictures (UIP) at their London head office in a team dedicated to developing then-new and emerging international markets. Pollock’s first overseas posting came in 1990 as UIP’s general manager in Thailand. “In Bangkok in particular,” he has seen “some incredible cinemas and luxury concepts with fascinating complexes… They are so luxurious, it is unbelievable. You’re watching movies in a palace with enormous couches and screens, and alcohol and food is being served on a platter for you.” It is in this country, “which is quite at the forefront of some of the new concepts,” where Pollock equally enjoyed going to the Scala on Siam Square, “one of those standalone screens that brings back fond memories. We released Ghost there all those years ago and it played like 25 weeks or so. Those were the days…”
In 1992, it was nonetheless time to move on to Seoul, Korea, as UIP’s representative director and, two years thereafter, he was made managing director for their distribution subsidiaries in Singapore and Malaysia. In 2000, Pollock was appointed as head of UIP’s Asian operations based in Singapore before heading back to London to become senior VP for Europe, the Middle East and Africa in April 2003. Following the decision at the end of 2005 by Paramount Pictures and Universal Pictures to set up standalone international operations, he was appointed to his current position in 2007.
Among the many challenges in international distribution, “the crowded marketplace is definitely one,” Pollock attests. “Every week, so many films are being released—in France, for example, anything less than 15 films is a good weekend. This means that dating and marketing have to be carefully established. When you have a big film like Iron Man or Indiana Jones, you pretty much own the market. With a smaller film or a niche movie, however, you have to be extra-smart and have a very strategic approach to the release.” Related to that issue, he has found “the difference in audiences’ tastes around the world is becoming more and more pronounced. Comedies, for examples, do not travel as well across borders as action. What might work as a really good comedy in America doesn’t necessarily work in Germany. So we have to look at ways either to offset that or to develop campaigns which work better for the local markets.”
Other than piracy, which we all know about too well and which he calls “an extremely relevant topic,” Pollock sees the “imminent” digital rollout as another important issue. “It is time for all of exhibition to grasp and move forward now with digital,” he advises. “As opposed to waiting until the first 3D movie comes out, and suddenly realizing, ‘We need digital all sorted.’ It needs to happen now and that is probably for us one of our key notes in terms of getting exhibition prepared. We’ve been on many roadshows with Jeffrey Katzenberg, who has delivered several presentations to exhibition around the world…given that DreamWorks Animation will now author all their forthcoming productions in the 3D format, beginning with Monsters vs. Aliens. Clearly it is in their interest, as it is ours, to have as many cinema screens around the world equipped with digital and 3D facilities. I think this change will have the same impact on the consumer that color had when it came to the cinema.”
As for when the checks will be written for all that new technology, Pollock declares, “Paramount has been extremely aggressive in their approach to getting digital VPF agreements in place around the world.” In addition to signing up with Arts Alliance Media, “we are talking with several other third-party integrators. We’re on board in assisting exhibition with that and, yes, we are writing checks.”
The recently announced business plan in Germany opting for a mix of contributions by exhibition and distribution along with public funding “is an interesting model,” he notes. “As long as it is not too restrictive and doesn’t take too long to get going, this concept is one to be encouraged. Certainly in a market where you have such a vast infrastructure like Germany, it is a good thing, just like the U.K. has had some assistance from the Film Council.”
Looking ahead to film consumption some ten years from now, Roger Pollock politely but assuredly laughs off this author’s suggestion that everybody might be watching movies, Paramount or otherwise, on their iPods. “You know the answer to this one… The cinema-going experience can’t be replicated anywhere except in a cinema. I think what’s happening with 3D is going to present opportunities and experiences for the consumer that will go long into the future and will actually propel the experience… Cinema is here to stay. And don’t forget most filmmakers make their movies primarily for the theatrical environment.”
In closing, Pollock credits those same creatives as his inspiration. “Just look at the amazing films that come out of Hollywood and from all the talent around the world up there on the big screen! They keep us all in jobs and put bums on seats. Being fortunate enough to get your hands on these films for distribution and to be able to say you were part of their success, that’s very inspirational.”
