GROUNDBREAKING ANALYSIS OF THE BLACK FILM GENRE REVEALS PROFITABILITY OF AFRICAN-AMERICAN INFLUENCED FILMS

Black Film Report Examines The Box Office Performance of 150+ Films Released Between 2000 and 2004

(September 19, 2005 – Beverly Hills, CA) – The newly released Black Film Report: 2000-2004 offers up annual box office data for industry professionals searching for comprehensive information on the financial performance of black films. 

Written and compiled by Tanya Kersey, a veteran entertainment reporter, commentator and editor of Blacktalentnews.com, the Black Film Report: 2000-2004 is an invaluable collection of black film statistics.  It includes a detailed analysis of the financial performance of 150+ films with significant involvement by black talent in-front-of and behind-the-camera, released between 2000 and 2004.  The financial and performance data in this report relates to cost-gross ratio, negative costs, release patterns, domestic and overseas box office grosses.  

 “The value of a black actor in a mainstream movie in terms of broadening the film’s demographic reach is significant.  Stars such as Samuel L. Jackson, Morgan Freeman, Denzel Washington, Wesley Snipes, Will Smith and Eddie Murphy draw both the urban and white audiences.  Adding a marquee black star name to a mainstream movie helps to broaden the appeal and attract the black audience,” said Ms. Kersey.  “If you take a look at the domestic box office total revenue for films released between 2000 and 2004, with significant involvement by African Americans, it was a whopping $7.68 billion.  Black films accounted for $1.75 billion, black star driven films accounted for $2.27 billion, buddy films - $926.1 million, and $2.74 billion for ensemble films with at least one black lead,” she added.

Highlighted in the Black Film Report: 2000-2004 are key findings that illustrate the economic impact of the black film genre:

• Seventy-seven (77) black films, representing $1.75 billion in domestic box office gross, were released in the five-year period, 2000-2004.
• Since 1990, black films have grossed $3.88 billion in domestic box office revenues.  During that same time period, mainstream films grossed $102 billion.  On average, black films represent 3-5% of the annual domestic box office take from all films released.
• Black films are receiving larger budgets than in years past.  Today black films average a negative cost of $15.7 million versus in the 1990s when black films averaged negative costs of $6 to $8 million. Production costs allocated to black films are still significantly lower than production costs for mainstream which average a negative cost of $45.1 million.
• Black films are also opening on more screens.  From 1,200-1,300 screens in the 1990s, black films now average openings on 1,500 to 1,700.  However, black films still lag behind their comparative mainstream counterparts who open on 2,700+ screens.
• Black films continue to get smaller P&A budgets than their comparative mainstream counterparts.  P&A costs for mainstream films average $35 million while black films have P&A budgets that average $7 – 10 million, and small, independent black films average budgets $500,000 to $1 million. 

In terms of market share, the Black Film Report: 2000-2004 provides detailed breakdowns of revenue generated by black films and the number of black films released by major studios and distributors. 

20th Century Fox reigned supreme as the market share winner based on number of black films released and based on black film revenues.  20th Century Fox’s ten black films represented a 13% market share and the domestic box office tally of $356.2 million represented 20.3% market share in the revenues race.  Fox’s tally was fueled in large part by a solid slate of black films which included Big Momma’s House, Drumline, Like Mike, Antwone Fisher, Black Knight, Two Can Play That Game, Kingdom Come, New Die Aone, Fat Albert, and Johnson Family Vacation.

Based on the number of black films released, Sony was in second place in the market share race.   Sony released nine black films for 11.7% of the market share.  Sony’s nine releases included White Chicks, You Got Served, Ali, Baby Boy, Two Can Play That Game, The Brothers, Half Past Dead, Breakin’ All the Rules and Lightning in a Bottle.

Paramount was third releasing eight black films for a 10.4% market share.  Paramount’s eight black films included Shaft, Original Kings of Comedy, The Ladies Man, Martin Lawrence: Runteldat, The Fighting Temptations,Tupac: Ressurection, Fade 2 Black and Pootie Tang. 

Among the mini-majors, Lions Gate led the pack with 10.4% market share based on the release of eight black films – The Cookout, The Wash, Held Up, State Property 2, What’s Cooking, Civil Brand, Once in the Life and Uninvited Guest.  While Lions Gate churned out eight black films during the 2000 through 2004 time period, their revenue share was near the bottom of the heap as its slate of eight low-budget films combined to gross only $29.8 million -- The Cookout ($11.8 million), The Wash ($9.8 million), Held Up ($4.7 million), State Property 2 ($2.1 million), What’s Cooking ($1 million), Civil Brand ($200,000), Once in the Life ($100,000) and Uninvited Guest ($100,000).

New Line Cinema followed with 9.1% market share based on the release of seven black films – Love & Basketball, Next Friday, Friday After Next, All About the Benjamins, Bamboozled, Turn It Up and Bones.  Miramax took the #3 spot with 6.5% on five black films -- Scary Movie 2, Dysfunktional Family, My Baby’s Daddy, Undisputed and Paid in Full.

Trailing 20th Century Fox’s $356.2 million tally in the revenues race, Universal earned the number two spot based on domestic box office revenues with a 14.8% market share ($259.6 million).  Universal’s second place finish was spurred in large part by the $70.3 million box office tally of Shaft.  Sony was in third with 14% market share ($244.8 million). 

Among the mini-majors, MGM leads the pack with 8.8% market share based on $155.1 million, barely edging out New Line Cinema’s 8.8% market share based on domestic revenues of $154.2 million.  Barbershop ($75.8 million) and Barbershop 2: Back in Business ($65.1 million) combined to bring in $140.9 million, the lion’s share of MGM’s $155.1 million gross.  Miramax’s third place finish was based on 6.1% market share ($107 million). 

 “While black films continue to prove their financial viability at the box office, tapping into the crossover audience remains one of the biggest challenges for black films,” noted Ms. Kersey.  “Movie-going audience patterns, much like television viewership, remains largely polarized along racial lines.  The music industry’s crossover phenomenon has remained largely elusive for black films,” she added.

However, America is becoming more multicultural, and young white moviegoers are increasingly colorblind.  As a result, many black films are beginning to transcend color.  Drumline and Barbershop 2: Back In Business defied box office expectations and became crossover hits.  Broad comedies with stars like Ice Cube and Queen Latifah are increasingly becoming mainstream and attracting a broader audience.  Scary Movie was a big hit and accepted by everyone. Also appealing to a broad demographic was Sony’s Bad Boys Ii starring Martin Lawrence and Will Smith.  Fifty-nine (59%) percent of the audience was under the age of 25.  Males and females were about equally represented, and African Americans represented 35% of the audience.

Ms. Kersey explains, “The problem is not that non-white audiences don’t enjoy black films.  The problem lies with the studios who marginalize, ghettoize and market black films specifically towards the ‘urban demographic.’  The studio limits the marketing and publicity campaigns for films labeled as “black.” Oftentimes, crossover audiences don’t even know that these films are being released because the advertising and publicity push is so overwhelmingly focused on black media outlets.  When the studios begin broadening their marketing to a more diverse audience, more black films will crossover to reach a wider audience.”

The Black Film Report: 2000-2004 found that the black film genre is alive and well, and profitable in the U.S. but in the foreign arena, they continue to lag far behind.  “Black films continue to lag in overseas markets because the studios continue to deny that the foreign market is interested in black actors or black-themed films. Studios don’t push these films in foreign markets other than Britain, the Caribbean and a few Latin American countries.  Big markets like Germany and Japan that don’t have large black populations are not seen as potential markets for black films,” remarked Ms. Kersey.  However, the few black films that have received any semblance of international distribution have proved the contrary.   With limited international distribution White Chicks (Sony) earned $40.7 million in the international market, Shaft (Paramount) earned $33 million.  Just like the global acceptance of the hip-hop/rap music culture, given the opportunity, and with the appropriate marketing and publicity campaigns, Ms. Kersey believes many black films can attract an audience in the foreign markets. 

On a positive note, black star-driven movies already attract huge international audiences.  For example, Martin Lawrence’s Big Momma House earned $77 million in the foreign market; Eddie Murphy’s Nutty Professor II: The Klumps raked in $41.7 million; Wesley Snipe’s Blade II took in $68.5. million; and Denzel Washington has consistently scores in the international market with films such as Man on Fire and The Manchurian Candidate. 

Will Smith and Martin Lawrence paired off in Bad Boys II and proved that ‘black’ can sell overseas.  According to The Hollywood Reporter, during its overseas run, Bad Boys Ii emerged as the market leader in the foreign theatrical market.  Highlighted by a $5.8 million opening from 895 screens in Germany, Bad Boys Ii went on to play on 3,500 screens in 41 territories, earning an overseas gross of $129.3 million. It’s important to note that the film did well in Austria, Belgium, Denmark, Holland and Switzerland.  And finally, Will Smith’s star status helped draw in $250.1 overseas for Men in Black II.

As Ms. Kersey began the arduous process of subjectively classifying the list of prospective films as ‘black,’ she realized that the final list was far too narrow in scope.  There are varying opinions regarding exactly what defines a ‘black film’ but for purposes of this report, a black film is defined as a film which has a predominately black-cast, is black-themed, is written and/or directed by a black filmmaker, and is targeted at a black audience.  This description didn’t include all films with a significant involvement by African American talent, in-front-of and behind-the-camera.  Therefore, in order to be more inclusive of the contributions African Americans make to the film industry, and to accurately examine and detail the full breadth of our contributions to the film business, Ms. Kersey broadened the scope of this report by dividing the films into four categories – black films, black star-driven films, buddy-type films with a black lead, and studio films with one or more black leads.  “In this way I have been able to realize the full value of African American participation in the motion picture industry,” she remarked.

In conclusion Ms. Kersey notes, “The African American audience represents 25-30% of the movie-going public.  They are extremely loyal and have proven, time and time again, that they can and will deliver for films marketed towards them.  The challenge for black films is in general acceptance -- rising above the “niche” film label and figuring out how to capture a wider, mass audience.”

The 85-page Black Film Report: 2000-2004 retails for $129.95 per copy and can be purchased online at http://www.tanyakersey.com/store.php.

VETERAN ENTERTAINMENT JOURNALIST TANYA KERSEY ANNOUNCES RELEASE OF URBAN HOLLYWOOD RESOURCE DIRECTORY, FALL 2004 E-BOOK EDITION

The Yellow Pages Of Black Entertainment" Connects Readers With Thousands Of Career Services And Talent Contacts

Los Angeles, CA (October 26, 2004) – With a mission to empower women and Blacks, Tanya Kersey, Editor-in-Chief of Blacktalentnews.com and Founder and Executive Director of the Hollywood Black Film Festival expands her role as an advocate for those often overlooked and underserved in the entertainment industry with the introduction of the URBAN HOLLYWOOD RESOURCE DIRECTORY. A guide designed to help media professionals and novice alike connect with key personnel and decision makers in Hollywood.

Ms. Kersey created this comprehensive and vital resource directory to provide aspiring, beginning and veteran industry professionals with information and access to thousands of industry contacts and services. “The Urban Hollywood Resource Directory serves as a solid, reliable resource to facilitate introductions and working relationships, assist in developing productions, and aid in career development,'' says the veteran entertainment journalist. “It’s a tool every one seeking to build and establish relationships with Hollywood power players should have at their disposal.”

Described as a 'must have' professional resource for anyone involved in the entertainment industry, the URBAN HOLLYWOOD RESOURCE DIRECTORY combines the business of film and television into one complete resource guide.

The URBAN HOLLYWOOD RESOURCE DIRECTORY contains the names, addresses, phone numbers, fax numbers and web sites for contacts in dozens of categories including Below The Line Agents, Below The Line Unions, Black Executives, Black Talent Agents, Business Management Firms, Casting Directors, Entertainment Attorneys, Film Festivals, Business Management Firms, Film Schools & Writer Training, Film Screening Opportunities, Funding & Financing Sources, Independent Distributors, Job Resources, Management Companies, Production Companies, Publicity Firms, Studios & Networks, Unions, Guilds and Organizations.

As a reflection of her ongoing commitment to Blacks in the entertainment industry, Ms. Kersey has other publications scheduled for release by the end of the year and in 2005. “The Guide to Black Film Festivals,” co-authored with Jacqueline Blaylock, Director of Programming, Hollywood Black Film Festival will be released as an e-book in December. This handbook for filmmakers demystifies the film festival business and walks the reader through the process of applying to festivals all the way up to effective tools to help event-goers navigate throughout the festival grounds to gain that competitive edge.

A series of career planning handbooks are also in the works. The third edition of Ms. Kersey’s “The Performer’s Plan” is scheduled for a January 2005 release. In recognition of the critical role that planning and preparation play in the growth and development of a show business career, “The Performer’s Plan” guides the actor through the essentials of developing an effective career plan. Career-planning handbooks for Black writers, directors and producers are currently in various stages of development.

Ms. Kersey, who is also the author of the “Black Film Report” and “Black State of the Arts” says, “All of these career-oriented books have one purpose in mind: to help African Americans gain tools to be successful in the entertainment industry and ultimately even the playing field --- because knowledge is power.”

The e-book edition of the URBAN HOLLYWOOD RESOURCE DIRECTORY is on sale for $24.95 at www.tanyakersey.com.

Contact:
Tanya Kersey
(310) 203-1336 V/M
tanya@tanyakersey.com

VETERAN ENTERTAINMENT JOURNALIST TANYA KERSEY LAUNCHES TALKIE WITH LEE BAILEY’S EUR TO LAUNCH “INSIDE URBAN HOLLYWOOD WITH TANYA KERSEY”

Internet-based Entertainment Newsmagazine Show to Launch on EURweb.com

Los Angeles (September 1, 2004) -– Veteran entertainment journalist and broadcaster Tanya Kersey has teamed with director/producer Bobby Mardis and veteran radio broadcast personality, Lee Bailey (Radioscope) to launch “Inside Urban Hollywood with Tanya Kersey,” an entertainment newsmagazine show that will be streamed on-demand on EURweb.com.

"Inside Urban Hollywood with Tanya Kersey" delivers the inside scoop on urban entertainment news -- from celebrity interviews and analyses of Hollywood's hottest topics to sneak peeks at upcoming film and television projects and special events coverage. In order to keep viewers informed about the latest, the most important, and the most interesting developments in the business of urban entertainment, "Inside Urban Hollywood with Tanya Kersey" takes the viewer behind-the-scenes for a glimpse of what's new and next in urban entertainment.

“This is a great opportunity for us to provide much needed content on the Internet that is ethnically focused,” said Lee Bailey, President, EURweb.com “I am excited about all of the possibilities that we can explore by marrying cutting edge technology with good old fashioned entertainment.”

On the Hollywood beat for more than a decade, host and executive producer Tanya Kersey has earned the reputation of being the women 'in the know' when it comes to what's going on in the world of urban entertainment.

The show will be shot on location and in the studio.

“Audiences are always interested in knowing who’s doing what, where and when especially as it relates to urban entertainment,” said Kersey. “We’re filling a void in coverage of our black stars where other traditional means of coverage have been woefully inadequate.”

“Inside Urban Hollywood with Tanya Kersey” features lively and informative discussions and commentary on hot industry topics; industry professionals who tell their stories with original and unfiltered voices; on-set, on-location, backstage and red-carpet interviews with celebrities, awards show coverage and more.

“Since the demise of BET’s ‘Screen Scene,’ there hasn’t been a newsmagazine show like this that caters to the world of urban entertainment – offline or online. We have been aggressively working on the development of this distinctive genre of entertainment programming,” said Mardis. “I am excited to be working with Tanya Kersey in creating and developing this project for the urban Internet audience.”

“Inside Urban Hollywood with Tanya Kersey” merges the talents of Kersey and Bailey allowing a new medium of entertainment to be available and easily embraced by viewers interested in up-to-the-minute urban entertainment news. This partnership paves the way for more quality online urban entertainment programs and leverages the abilities of the Internet as a relatively untapped communication vehicle.

"Inside Urban Hollywood with Tanya Kersey" delivers the ultimate insider insight into the world entertainment, from a uniquely urban perspective.

“Inside Urban Hollywood with Tanya Kersey” is a Bobby Mardis Production in association with Tanya Kersey Entertainment and Lee Bailey’s EURweb.com.

About Tanya Kersey Entertainment

Tanya Kersey Entertainment is the multi-media production company run by Tanya Kersey, one of Hollywood's most respected and well-regarded entertainment journalists and commentators. As the founder and editor-in-chief of Black Talent News, the leading trade publication for Blacks in the entertainment industry, and the founder and executive director of the Hollywood Black Film Festival, Kersey has an enviable reputation for having her finger on the pulse of what’s happening in Hollywood.

Among the countless radio and television programs, print and internet publications Tanya has provided commentary for are: the Los Angeles Times, The Wall Street Journal, USA Today, the Boston Globe, Entertainment Weekly, Black Enterprise, the Miami Herald, Upscale Magazine, Diversity Magazine, American Legacy Magazine, Turning Points Magazine, The Hollywood Reporter, Daily Variety, CNN and "BET Tonight". Her many essays and articles about the entertainment industry have appeared in Upscale Magazine, BRE Magazine, EUR, Raw Story, L.A. Sentinel, The Portland Observer, The Westside Gazette, Columbus Post, Black Journalist and Los Angeles Times, among other publications.

Kersey is also the author of the popular career guide Black State of the Arts: A Guide to Developing a Successful Career as a Black Performing Artist, the BTN Resource Directory, and The Black Film Report, which presents a Black perspective on Black box office clout.

In addition to hosting and co-producing “Inside Urban Hollywood with Tanya Kersey,” Kersey is also a consulting producer on “African American Filmmakers,” a four-hour special focusing on African Americans behind-the-scenes in Hollywood.

About Bobby Mardis Productions
Bobby Mardis Productions in association with Fat Chance Films and B. DigiVision Filmworks, LLC, has produced film, television and various industrial projects for the last twenty years. Showtime Network has aired Bobby's "Why Colors?" which starred notables like Regina King, Ice - T, Barry White, Anne Marie Johnson and a number of his Robert Townsend's Partner's in Crime. He also produce and directed "Circle of Pain" which starred Glynn Turman, Anna Marie Horseford, Todd Bridges and was Rosalind Cash’s last film before she passed away. Bobby Mardis has received awards for his films in over sixteen film festivals around the world. His most recent television venture was the Comedy made for television entitled, "Midnight Blue" which he scripted and directed. This project achieved the highest rated standing in the series of Arabesque films.

He has gone on to produce straight to video projects, like the thriller, "One Last Time". He is currently posting an all Latin Urban project, entitled, "Neighborhood Kings". He most recently produced a set of Hallmark commercials spotlighting the poetry of a national treasure, Maya Angelou. His body of work has also included companies like, Nike, Infiniti, Axa Financial, The Limited, Household International and a number of other fortune five hundred companies. Beside industrials and commercials, he has also produced and directed music videos, electronic press kits and documentaries.

His most recent documentary that is currently being manufactured for the DVD market is "Beats by the Bay". This project is about the independent hip hop and rap scene in San Francisco's Bay Area. "Beats by the Bay" is a four DVD set which also includes two sound track CDs and a book. He is currently streaming parts of the project on Beatsbythebay.com. That product will be on the market in early 2005. Bobby Mardis' "Passing the Torch" is a Jazz project that is currently in post production. This is a jazz documentary about passing down the art of jazz from one generation to the next. He has captured over 206 legendary jazz musicians from all over the world in various venues. Some of the artists include Nancy Wilson, Freddie Hubbard, Lionel Hampton, Stanley Turrentine, Illinois, Jacquet, Arturo Sandoval, Winton Marsalis, Herbie Hancock, Grover Washington and the list goes on… This is a project that will give jazz it's much overdue recognition and create an overwhelming awareness of the art form.

Bobby Mardis has teamed up with Stan Foster to produce a comedy pilot project which is currently in editing, "In the Cut". This hilarious project will hopefully hit the airwaves soon. As a current member of the Directors Guild of America and The Writers Guild of America, he vows to continue to make a difference in African American programming as he cranks out future projects.

About Lee Bailey’s EURweb.com
EURweb.com is the #1 source for urban infotainment online. Ranked as the 3rd most popular web site among African Americans and #20 top entertainment web site by Black Data Research, Lee Bailey’s EURweb.com provides factual infotainment on today's hottest celebrities, issues and events in urban entertainment. Thousands of visitors daily visit EURweb.com to learn the latest happenings of their favorite celebs and get the straight scoop on what's going on in urban/black entertainment and culture. In total, EURweb.com attracts 1.2 million visitors each month.

In addition, EUR’s daily e-mailed newsletter has a database of 72,000 subscribers (including a large celebrity list), reaching over 1.4 million readers monthly.

Lee Bailey’s Radioscope, "The Entertainment Magazine of the Air" is the flagship radio program of EUR's parent company, Rabercom MultiMedia. Radioscope has been in syndication since 1983. The 'Scope' is heard throughout the US (53 U.S. markets), the UK and around the world (53 countries) via the Armed Forces Radio Network. Radio stations carrying the program include RadioOne, Clear Channel, Citadel and Cumulus.

EURweb.com is a subsidiary of Lee Bailey Communications, Inc./Bailey Broadcasting Services, owned and operated by Lee Bailey. Bailey is also the host of RadioScope and is the founder and publisher of the Electronic Urban Report (EUR).

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Contact:
Tanya Kersey
Voicemail: (310) 203-1336, Email: tanya@tanyakersey.com