By all standards, Egmont Audio Visual Group is a young company.
However, Egmont’s heritage, immediately after the launch in 1987, placed the company among such Scandi majors as Sweden’s Svensk Filmindustri and Esselte, and Denmark’s Pathe-Nordisk and forceful independent, Metronome.
Egmont Audio Visual Group derives solid backing from the Egmont H. Petersen Foundation, established in 1920. The foundation is funded by Gutenburghus, a conglomerate that, over the years, has branched out into printing houses, publishing, advertising and, finally, homevid and theatrical distribution through Egmont Film.
Despite this rock steady foundation, Egmont Film began operations in a modest way in the homevid field, slowly venturing into theatrical distribbery. However, Egmont quickly gained momentum with the takeover of Danish homevid and theatrical distribbery, Panorama, and several Swedish companies: Fiimkompagniet, Trans World and Hem Video.
Today, Egmont has its homevid distribberies in Denmark, Sweden, Norway and Finland and the 420-employee company also asserts itself with sales of tv rights.
According to executive vice president Tivi Magnusson, formerly of Metronome Film and head of programming with pubcaster DR/TV, this solid pan-Scandinavian structure was Egmont’s strategy right from the start. Magnusson ascribes Egmont’s recent success to the fact that the company has doggedly put its money on an all windows for Scandinavia buying policy.
With Egmont, the ambition is clearly to become the major factor among Scandinavian distribberies and, as far as homevid is concerned, this goal is close at hand, with an estimated market share reaching 19% in the Scandi marketplace in ’91. Theatrically, Egmont has a share of 8%, and this figure is likely to be improved upon in the future.
In ’91, Egmont will release 12 independent features, among them “Sibling Rivalry,” “City Slickers,” “Blue Steel” and “Toy Soldier.” The company will also distribute Oscar winners “Misery” and “Dances With Wolves.”
Denmark and most of the other Scandi countries are in the clutches of a severe cinema crisis. Because of heavy involvement in homevid and tv rights, Egmont expects to weather the storm.