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different this year but I think the quality is up."
GOOD FOR PRODUCERS
The market also appeared to have worked for at least some of the independent producers who Paillard says have become among the most influential forces in the Cannes marketplace.
"This year we have about 5,000 producers, they are really coming to Cannes to find partners, to find co-financiers, co-producers, to find new opportunities and that works, that shows the face of the market we're in," Paillard said.
John Foster, President and CEO of Texas-based Odyssey Pictures Corporation, grumbled at the beginning of the market last week that attendance looked sparse, in part because of a French pilots' strike, but by the end he had changed his tune.
"There was still some good networking, good meetings and good activity," Foster said.
He said his company had struck a deal for North American distribution for a U.S. film, the name of which he said he could not divulge because details remained to be worked out, and he made some contacts for movies he is producing.
"The independent markets are very important for the economy of the modest budget-to-low budget films; that's what makes kind of the flow of the business happen," he said.
It worked also for Julian Richards, producer and director with London-based Jinga films, who said that one of his best titles at Cannes had been the modest-budget Irish-made horror film "The Canal".
It is films like "The Canal", with small budgets and no big-name stars, that Richards said work best in a global market where rights to a country like Malaysia might only net $30,000.
"It's not a sustainable business, though occasionally there's that film that goes through the roof."