‘on The Job’ Bags Biggest Deal Yet For Foreign Distribution Of A Filipino FilmFestival de Cannes entry “On the Job” has landed the biggest deal yet for the foreign distribution of a Filipino film, its director, Erik Matti, has revealed.
“Reliable sources told us that, in fact, it’s the biggest distribution deal landed by a Filipino film to date,” Matti told The Philippine Daily Inquirer in a recent interview.
According to Dondon Monteverde, the director’s co-producer in Reality Entertainment for “On the Job”, deals made for the French and American distribution of the film was tallied at $350,000 or at least P12 million.
Wild Side has signed a deal with makers of “On the Job” for the release of the film in France while Well Go USA has inked a deal for the American release of the film.
To put this deal into perspective, Monteverde said “We buy Korean films for Philippine distribution and the amount that ‘“On the Job”’ has bagged is definitely bigger.”
According to Matti, the deal signed by Well Go USA “is significant on so many levels.” He added that the deal “proved that given the right script and support, Filipino commercial films can make it internationally.”
Matti added that they were extremely elated about the offer from Well Go USA because of its personal significance more than its financial implication.
Well Go USA will be releasing “On the Job” in at least 12 theaters in the U.S. this coming fall and also on DVD, Blu-Ray and Video on Demand.
Meanwhile, Matti went on to discuss his filmmaking experience.
“As a filmmaker, I have always attempted to make films that are Filipino but have strong universal stories. This deal tells us that we are on the right track. We at Reality have had misfires in the past. With ‘On the Job’ we found the right balance that can hopefully work both here and abroad,” Matti said.
The director also said that he would like to continue making films and that “it’s essential that my projects are sustainable”. Monteverde noted that the deals inked for ““On the Job”” boosts his group’s ability to make bigger and better films.
“Our inclusion in Cannes’ Directors’ Fortnight and the Well Go USA deal prove that genre movies can be done well,” Matti said.
Matti added that young filmmakers should strive to make films that have stories which are as universal as possible.
“I’ve always urged young filmmakers to tell stories that speak to as broad an audience as possible. We keep asking why the indie scene has not gathered a big enough audience to make it economically viable. We should not look down on moviegoers. In fact, we should ask ourselves whether we are relevant to the audiences we want to reach,” he said.