Infinity Pictures - 让影视破除国界,让戏娱人人 Let movies beyond boundaries and entertaining everyone

RM 902,000
Investors 60
Minimum Investment RM 300,000
Funding Goal RM 900,000
Funding Period
05/05/2021 - 23/05/2021
Funded Successfully

Infinity Pictures

My Story: My Dream to showcase every movie that I Distributed

 

My name is Chiah Choon Kang, AKA CK, known by the industry.

Our family has rooted ourselves in the movie industry for three generations now. It all started when my grandfather opened up the first movie theatre named Odeon Butterworth, in Butterworth, Pulau Pinang, back in 1936.

 

I have loved movies ever since I was young, and it has always been my goal to open up more movie theatres in the country. It was until an incident happened that I changed my mind entirely. A film by Jackie Chan, Robin-B-Hood, was screened in Malaysia. A market leader introduced this movie to the local movie industry. It has its cinema lines, and since we were rivals, we were unable to screen a similar film in our theatre. Many customers, including a younger me, asked why can't our theatre screened the film.

 

I remained confused until my father explained to me the gameplay of the movie industry. Many movie distributors purchased high-quality foreign films from Hong Kong, Taiwan, Singapore, Thailand, American, Europe, etc. It will then distributed to the local cinema lines for screening.

 

The movie distributor and cinema lines would then split the profit from the box office. The distributor has the ultimate right to choose the cinema line they preferred to showcase whenever there is a new foreign film. This matter has been bothering me and lay a seed inside me, but I can't do much as I was too young back then. Now, that tiny seed inside of me grew and pushed me to become a movie distributor myself. My vision is for every local theatre to screen the movie I distribute.

 

 

How does a movie distributor make a profit?

I have been hustling in the local movie industry for seven years now. I have distributed more than 80 foreign and local films, and its numbers achieved outstanding box office during their runs, i.e.:

  • "Wolf Warrior 2", a film by Wu Jing, grossed RM 4.2 million during its run and became the highest-grossing China movie in Malaysia.

 

  • "Ah Boys to Men 4", a Jack Neo film, grossed RM 7 million and became the highest-grossing Singapore movie in Malaysia.

 

  • "My Papa Rich," a local film, grossed more than RM 4.1 million and became the top-grossing local Chinese movie in 2015.

 

 

  • "New King of Comedy" is one of my most successful films ever distributed and mark a milestone in my career, made me a 10 million distributor.

 

Before the pandemic took place, I travelled worldwide to source high-potential films. I attended numerous film festivals, such as the Hong Kong Film Market, American Film Market, European Film Market, Cannes Film Market, etc. I used to buy around 6 to 12 foreign films in a year for local screening during my travelling. The cost of purchasing the film right depends on the film quality and the casting actors, especially those A-listed actors. After distributing the film throughout the local cinema lines, entertainment tax will take 20% of entertainment tax out of the grossed box office. The balance will split among cinema lines and distributors.

 

For example, the film by Jackie Chan, Kung-Fu Yoga, cost about RM4 million. It was screened in local cinema lines back in 2017 and grossed a total of RM30 million. After deducting the necessary cost and taxes, the net profit would be RM10 million. Other B-list films that cost around RM 400,000 that grossed around RM1 million would only have a net profit of tens of thousands after deducting the cost and taxes.

 

As for local films, it required no cost to distribute. After distributing it to the local cinema lines, my company can get around 10 - 15% of net profit from the box office.

 

 

The Pandemic Hits: The changes for film distributors

 

The pandemic caught the movie industry by surprise and rendered it impaired. This pandemic has changed film producers' way movies and broke the balance between streaming sites and movie theatres. According to an article from Los Angeles Times, the number of the home audiences increased by 24% annually, and the number surged during the pandemic. 

 

Industries were forced to a close during MCO in Malaysia. While everyone is staying home, they tend to subscribe to streaming platforms for their daily dose of movies, leading to an explosive surge of home audiences. 

 

Compared to films that were only screened in theatres, home streaming had an obvious advantage in capturing the audience's attention during the pandemic. The disruption of balance started when films were pulled from cinema lines and were made into streaming-exclusive contents. The China film, Lost in Russia has its rights sold to Douyin and Xigua Video. The users of both streaming sites were able to stream the movies for free. The views reached a whopping 600 million in just three days; Mulan, the Disney remake of the classic tale, was also introduced to Disney's streaming platform, Disney+.

 

In April 2020, Universal Pictures decided to stream their film, Trolls 2, instead of pushing them for a theatrical release, which angered AMC, America's most significant cinema lines. A week before Mulan released on Disney+, AMC and Universal Pictures reached a historic agreement. Universal Pictures would push their films for a theatrical release first and only release their movies on streaming platforms 17 days after the premiere. AMC would then get a share from the box office.

 

During 2020's MCO, a local Malay film, Mael Totey The Movie, chose to skip theatrical release and stream exclusively on Astro First, which made a great RM 6.4 million.

Mael Totey The Movie dirompak

With crisis comes opportunity. The movie industry is ever-changing. Our connections and experience allowed us to make decisions swiftly to adapt to the current fast pace of change. We have decided to sell the films that we bought to other streaming platforms, such as Astro, Netflix, Iflix, iQiyi, RTM, etc. 

 

 

On top of that, our vast connections allow us to distribute our films to airline companies, hotel lines, and streaming apps on our smartphones. Compared to the traditional distributors, which relied solely on box office earnings, we have more channels to sell our films. We will also adapt to changes and follow the trends closely to achieve a low-risk, high-return business model. Upon the end of the COVID pandemic, the reopening of cinema will further boost up our sales instead of conflicting with our new and innovative business model.

 

Besides taking in high-quality foreign films, we also planned to sell local films to foreign streaming platforms and television channels. This business model required little to no cost because it depends on its sales on the respective platforms. We would be able to take a percentage of the profit as commission.

 

Some might be curious why film producers did not sell their movies and instead rely on distributors to do the job?

 

Movie producers are good at producing movies but not necessarily good at selling them. We have worked with many international partners in film distribution. We take responsibility for every film that we distribute. It made us a reputable company, and why many of the directors, producers, and artists chose to prolong their working relationship.

 

On top of that, our company aims to invest and promote local and foreign film co-production. We will then distribute the films to the local and foreign markets.

It might be challenging to promote Malaysia's films to foreign countries. Still, through streaming platforms and several other channels, we will be able to secure screening opportunities for our local films in foreign markets.

 

Why Infinity Pictures is doing crowdfunding?

 

In 2015, Wolf Warrior, a film by Wu Jing, achieved a box office milestone in China. Still, unfortunately, the film was not taken in by any local distributor. Malaysian audience did not get the changes to watch it in our regional theatres, therefore missing an opportunity to enjoy a high-quality production.

 

In 2014, Malaysia's production, The Journey, grossed 17.1 million box offices on our local screen. Still, it lacked the channels to go international, causing many foreign viewers to miss out on a spectacular local production.

 

Several Malaysian Chinese directors got nominated and even won prizes in many international film festivals. Hassan Abd. Muthalid, a Malaysian director, scholar, and reviewer, once held a Creative Industry Art Forum in Penang in 2018. All the work that this showed there received high praise.

 

However, films that got high recognition in film festivals worldwide were not shown or promoted to the local Malaysian audience. Only a handful of them had the chance to be screened in our local theatre.

 

The crowdfunding opportunity allows more interested parties to understand and join the movie industry, making the catchphrase, Support Local Films, a natural movement. Everyone would be able to watch the films distributed by Infinity Picture on various platforms and theatres.

 

 

Of the funds that we received through crowdfunding:

  • 55% will allocate to purchase film distribution rights; we would invest 20% in local and foreign film co-production.
  • 10% of the funds would invest in the international online movie platform; 
  • 10% recruit talents to join our company; 
  • the remaining 5% would be our reserved funds for future expansion and new projects.

 

 

Movies beyond boundaries and entertaining everyone

 

We will also introduce many high-quality foreign films to the Malaysian audience, giving them a chance to support and enjoy the movie we all loved. Movies should be boundless. As long as it is a good film and has a good channel for its audience, the audience would support it. Malaysia has never lacked good actors or productions; it lacked a channel to promote its films and promote Malaysia's best to the global audience.

 


Core Team


 

Term Sheet


 

Founder's Pitch Deck

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

缘起: 我想要每一个影院都放映我发行的电影

我是影三代,谢俊江,行内人称我为CK

我们家与电影行业的渊源甚深,始于1936年槟城北海爷爷开的第一家电影院 - 《奥迪安戏院》。因为从小就爱看电影,我也把开更多的电影院视为我的人生目标。直到有一天,成龙大哥的《宝贝计划》改变了我的思维。

当时候,《宝贝计划》是大马电影发行商里的业界大哥引进,由于他们拥有自家电影院,和我们是竞争者关系,导致我们无法上映此电影。很多顾客不断询问为什么我们的电影没办法上,包括年幼无知的我。在爸爸的解释下,我才,明白了电影行业的操作。

电影发行商会购买高质量的外国电影,包括香港,中国,台湾,新加坡,泰国,美国,欧洲等等,然后由发行给本地电影院上映,再根据票房与院线分账。原来,当一部电影要在影院上映时,本地的发行商引进后有权利选择给或不给哪家影院上映该部电影,因为他拥有该部电影在马来西亚所有版权。

我的心里开始萌生了一股不服的劲,奈何当时候年纪太小,我想要当电影发行商,让每一个影院都可以上映我发行的电影。

 

发行商如何盈利?

至今,我已经在电影行业打滚了7年,发行超过80部国内外电影,曾经发行过:

  • 《战狼2》, RM420万票房创下了马来西亚最高票房的中国电影

  • 梁智强导演的《AH BOYS TO MEN 4》,RM700万票房创下了马来西亚最高票房的新加坡电影

  • 周星驰导演的《新喜剧之王》,RM1100万让我跻身为千万发行商

  • 东主有喜》,RM410万票房成为了当年马来西亚本地中文电影票房冠军...等等。

疫情前, 我会通过各类影展例如香港影展,美国影展,康城影展,柏林影展等购买合适的电影,一年大约引进 6-12部外国电影。票房需先扣除20%的娱乐税,再和电影院对分。而收购电影版权的成本则有其质量与演员咖位而定。

举个例子,成龙大哥的电影《功夫瑜伽》本钱RM400万。2017年马来西亚上映后的票房是RM3000万。扣除所有费用和税务后,净赚RM1000万。而一部票房RM100万的普通电影收购成本就要RM40万,再扣除其余费用和税务后,也只会净赚几万令吉而已。

而本地电影的发行则无需成本,引进国内院线后我们可以直接抽取电影票房的10-15%净利润。

 

疫情肆虐:电影发行商的蜕变

一场突如其来的疫情,几乎所有电影院无法正常营业,不仅改变了电影的制作,也正在打破视频网站和院线之间脆弱的平衡。根据美国Los Angeles Times的报道显示,在家观赏电影的次数按年增长24%左右,疫情期间的数据更是暴涨。

MCO期间所有行业必须关闭,所有人在家无所事事,在家通过这些付费平台看电影的观众有爆炸性的增长。相比一些电影只在电影院上映时有过之而不及的。

这种失衡开始体现在电影集体撤档转战网络视频平台 --- 《囧妈》撤档影院后把电影卖给了抖音、西瓜视频等让他们进行网络免费首播, 三天总播放量即超过6亿,去年8月迪士尼《花木兰》选择在Disney+平台点播放映。

去年四月,环球影业因其《魔发精灵2》绕过院线而在网络播出而和美国最大的院线AMC交恶,虽然AMC曾经一度表示不再上映环球影业的电影,然而花木兰上线付费点播平台上线一个星期以前,AMC才与环球影业达成历史性的协议,允许环球影业在电影上映17天后以付费点播的方式首映,并从中获得收费的分成。

2020MCO期间,马来电影Mael Totey The Movie不上电影院而只ASTRO FIRST上映,创下了马币640万的佳绩。

Mael Totey The Movie dirompak

由此可见,有危就有机。面对瞬息万变的时局,我们的人脉和经验让我们可以快速地变动我们的营业模式 --- 我们决定把买回来的电影卖给其他的平台,例如:Astro, Netflix, Iflix, 爱奇艺 RTM等等平台。

 

除此之外,基于我们广大的人脉,我们甚至可以把业务扩展到飞机,酒店与手机应用程式等等。相比传统只靠电影票房的发行商,我们的销售管道相对更多,而且会与时并进,达成低风险高回酬的模式。疫情过去后院线的复兴,也只是会增加我们的营收销量,与我们新创的营收并没有冲突之嫌。

除了引进外国的高质量电影,我们也计划帮助本地电影售卖到国内外的线上收费点播与线下播映平台。而这类的营收并不需要任何资本,只需根据电影的销售额盈利抽取佣金。或许有人会问。为什么电影制片方不自己卖,反而需要借助我们的力量呢?这是因为许多制片方的强项并不在销售,相反地,我们有固定的国际合作伙伴,做事有交代有信誉,这也就是为什么许多与我们合作过的导演、监制、艺人都喜欢继续和我们合作的原因。

此外,我们也会投资与推广本地与国外合拍的电影项目,并引入本地与国外的影视市场。

对许多人来说,把大马电影推广到世界各地是由困难的。现在,通过这些平台,我们将会拓展本地电影在国外的上映管道。

 

为什么Infinity Pictures 要股权众筹?

2015年,吴京主演的《战狼》在中国票房大卖,由于马来西亚没人引进,大马观众无缘观赏。很多大马观众也因为此原因没得欣赏到国际高素质电影。

2014年,《一路有你》在马来西亚创下了1717万马币破纪录的票房纪录。但因为缺乏管道,这部电影无法让更多的海外观众们欣赏到。

在国际电影节上,几位马来西亚华裔导演的作品获得了提名甚至拿了大奖,马来西亚电影导演、学者、影评人哈桑阿布德穆撒理(Hassan Abd. Muthalib)在20183月于槟城举办的创意行业艺术论坛上,对这些作品给予了高度肯定。

不过,这些在电影节、评论界得到认可的作品,于马来西亚电影院线市场中并不受到观众的待见,甚至没机会在马来西亚上映。

透过股权众筹,我们要让更多的人有机会参与与了解影视行业,让支持本地电影的口号转化为行动,也让人人都可以看Infinity Pictures 发行的每一部电影!

这一次的股权众筹,55%的资金用来购买电影版权,20%用来与外国电影制作方联拍高质量电影,投资国际电影交易平台与招募人才则各占10%,剩余的5%是我们的备用资金,用以随时扩展与新企划的用途。

 

让影视破除国界,让戏娱人人

影视,是无国界的,只要一部好戏,只要给观众一个观影管道,观众就会支持。其实马来西亚不缺好演员,好的影视制作,我们只是缺少了推广的管道,把我们马来西亚的好戏推向更高的舞台。同时,我们也会引进更多更有质量的外国影视作品,让马来西亚的观众有机会观赏到这些好电影。

 


团队 (“Core Team”)


投资框架协议(“Term Sheet”)


创办人募资简报 (“Founders' Pitch Deck”)

 

Updates on the project will be shared here.

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Disclaimer by Securities Commission

  • No shares will be allotted or issued based on this document after six months from the closing of the offer period.
  • This issue, offer or invitation for the offering is a proposal not requiring authorisation of the Securities Commission under section 212(8) of the CMSA 2007.
  • This document has not been reviewed by the Securities Commission Malaysia. The Securities Commission does not recommend nor assumes responsibility for any information including any statement, opinion or report disclosed in relation to this fund raising exercise and makes no representation as to its accuracy or completeness. The Securities Commission expressly disclaims any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the information disclosed.
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