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Constantin Drives Into Tentpoles With ‘Monster Hunter,’ ‘Resident Evil’ Reboot (EXCLUSIVE)

Flagship projects include a ‘Resident Evil’ reboot and ‘Monster Hunter’

Constantin Film, producer of the $1.2 billion-grossing “Resident Evil” franchise, is driving into tentpole movie production with a “Resident Evil” reboot and “Monster Hunter.”

As with “Resident Evil,” “Monster Hunter” is based on a video game property from Japan’s Capcom. It will be directed by Paul W. S. Anderson and produced by Jeremy Bolt, the producer-director team behind “Resident Evil.” Constantin aims to bring “Monster Hunter” onto the market in late 2017 or early 2018, Constantin Film’s Martin Moszkowicz said at Cannes.

Details of the “Resident Evil” reboot are currently under wraps.

Also in the works is “Polar,” an adaptation of Victor Santos’ action noir graphic novels, to be directed by Sweden’s Jonas Akerlund, who is best known for music videos for Madonna, Beyonce, Taylor Swift and Lady Gaga.

At Cannes, Constantin will also bring onto the market, via Ralph Kamp’s Timeless Films, two Germany-originated movies: the $33 million-plus fantasy adventure “Jim Button and Luke the Engine Driver,” a live action/CGI mix, based on a novel by “The Neverending Story’s” Michael Ende; and “Dragon Rider,” a “big-budget 3D animation movie” which is engendering “huge interest” from China, Moszkowicz said.

At around $20 million because of its VFX and creatures, even the Mister Smith-sold “The Silence,” starring Stanley Tucci and Kiernan Shipka, is high-end by genre standards.

Constantin’s big movie drive comes after “Resident Evil: The Final Chapter” earned $312 million worldwide. Germany’s biggest film producer-distributor aims to meet the now vastly underserved demand of mainstream distributors worldwide for big movies, which are in short supply at this year’s Cannes market.

“English-language movies account for 60% of most markets in the world, including Germany,” Moszkowicz said. “Big companies like Constantin — and you have a couple in every country — need these. Otherwise, we leave two-thirds of the market uncovered.”

New market opportunities are opening up in China, where “Resident Evil: The Final Chapter” earned $160 million.

“You cannot make [big] movies without taking the second-biggest theatrical market in the world somehow into the mix,” Moszkowicz said. Deal structures, such as Sony’s and Constantin’s with Leomus Pictures Intl. for “Resident Evil: The Final Chapter,” where a Chinese distributor pays an advance, shares revenues and puts up some P & A, work in concept effectively for all parties, Moszkowicz said.

Other factors encourage a move into bigger-budget production. A strong dollar makes shooting in key international territories relatively cheap in dollar terms. Germany already boasts world-class CGI companies, such as Scanline VFX and Trixster, Moszkowicz pointed out. VFX costs has plunged, allowing large scale movies to be made much more economically.

Above all, however, there’s a market demand for big movies, and little supply.

“We are in constant contact with the big distributors in each territory. The main center of each conversation is the lack of product,” Moszkowicz said.

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