Intro
Despite having several critically acclaimed films, Lebanon has no real film industry to speak of. The fact is that without foreign funding, most Lebanese films would never see the light of day. However, Lebanon is one of the leading players in the regional TV market. The country boasts ten TV stations with a combined annual budget of some $150 million, a significant part of which is used to produce news programs, talk shows, TV series and recent monster hits such as Star Academy, Superstar, Survivor and The Farm, making LBCI and Future TV among the region’s most popular and profitable channels, while a dozen or so Lebanese production houses lead the market in terms of TV commercials and music clips, a market worth some $75 million.
Film
There has been the sweet taste of success for Lebanese films and Lebanese directors in recent years. In 2003, Randa Chahal Sabag won the prestigious Special Jury Prize at the Venice Film Festival for her cross border love story The Kite. In 1998, Ziad Doueiri put Lebanon on the world filmmaking map with his coming of age drama West Beyrouth. The film won several international awards and was a commercial success as well. It cost some $800,000 to produce and cashed in over $1 million, thanks to theater admissions, television and DVD sales.
It must be noted however, that while these movies were Lebanese in the sense that both directors and most actors are Lebanese and both films are set in Lebanon, they were actually French productions. In Lebanon no government subsidy system exists as it does in Europe, nor is there a commercial studio system as in the United States. Therefore, we can hardly speak of a Lebanese film industry. Lebanese directors, who want to make a film, have to go abroad. Most turn to Paris.
One of the consequences of foreign funding is that directors are obliged to hire foreign crews. The director of photography, cameramen and many technicians will have to be flown in. The editing too, arguably the most expensive part of making a film, has to take place in the country that funded the film. In that sense, foreign film funding is comparable to most of today’s governmental aid to developing countries, as the aid has to be spent in their country of origin.
Still, there are other ways. Lebanese director Phillipe Aractingi raised some $800,000 in shares to make his musical dream L’Autobus reality. The film is currently in postproduction. More common among Lebanese directors however, is to go low budget, shoot on video, and rely on the goodwill of fellow artists in the industry. That is how director Elie Khalife managed to make his short film Van Express, which cost a mere $15,000.
Education
As hardly any films are made in Lebanon, most of the country’s wannabe directors, cameramen and editors mainly end up working for TV, or in the production of ads and music clips. Apart from the American University of Beirut, most major universities offer film production courses, including: Lebanese American University (LAU), Academie Libanais des Beaux Arts, Universite Saint Esprit Kaslik, Universite Saint Joseph, Notre Dame Universite, American University of Science and Technology, American University of Technology and the Lebanese University. To illustrate the importance of TV, from the 300 students at LAU’s Communicative Arts department, 90% do television, which includes everything from production to directing and editing. They will not only work for Lebanese channels as there are over 150 regional TV stations, in which Lebanese employees highly represented.
A brief history of Lebanese TV
Unlike most Arab countries, yet in line with the country’s traditional laisser-faire philosophy, Lebanon’s first TV channel was launched by two local businessmen, Wissam Izzedine and Alex Arida. In 1956, they obtained a government permit to launch the Companie Libanaise de Television (CLT), which started operating in 1959.
Backed by the American Broadcasting Channel (ABC), a second private station, the Compagnie de Televsion du Liban et du Proche Orient (CTLPO) started transmission in May 1962.
Both channels became profitable by the early 1970s, but as soon as the war erupted in 1975 were on the brink of bankruptcy. To guarantee the country TV access, the government was forced to step in and in 1977 established the Lebanese Television Company (TeleLiban), which incorporated remnants of the CLT and CLTPO. During the 1980s, a large number of pirate private stations appeared, each linked to one of the warring factions, among which most importantly the Lebanese Broadcasting Company (LBC), Mashrek and New TV (NTV). In 1991 there were no less than 46 TV channels, although not all operational.
In 1996, the government decided to regulate the TV-sector and issued broadcasting permits to but 4: LBC International (LBCI), Future Television (FT), Murr TV (MTV) and the National Broadcasting Company (NBN). Critics accused the Hariri government of trying to silence political opponents. Al Manar obtained a permit later that year, while during the brief period Salim Hoss served as Prime Minister in 1998, NTV and IUCN also received a license. Christian channel TeleLumiere does not have a permit, but is tacitly allowed to broadcast. As IUCN is not operational, Lebanon currently boasts 7 active channels, with MTV reopening its doors soon.
Satellite a Go Go
With the arrival of satellite in the early 1990s, most Lebanese TV broadcasters today have both terrestrial branch and satellite branch to reach the broader Arab region Especially LBCI and Future TV have proved successful in increasing viewers and today rank among the 5 of most watched Arab TV channels. The reason is that, from the start, both channels perceived broadcasting as a business venture. LBCI may originally have been a Maronite station, even during the war it broadcasted the popular Fawazeer Ramadan show to attract Muslim viewers. What’s more, the privately owned Lebanese channels never had to serve as a government mouthpiece, as channels in Egypt or Saudi Arabia. Last but not least, Lebanon has always had a more relaxed attitude towards sexual morals.
What is it worth?
The Lebanese TV sector operates on a combined annual budget of some $150 million, while employing up to 2500 people full time and up to 500 people a month on a freelance base. Most broadcasters are rather tight lipped about annual budgets, and viewer numbers, yet it is estimated that the leading channels operate on annual $30 million to $35 million budget, some 60% to 70% of which is dedicated to in-house productions, while the remainder goes to the administration, as well as buying foreign films and TV series.
Partly owned by Saudi Prince Walid bin Talal, who for $98 million bought a 49% stake in the company, LBCI employs 550 people fulltime, while hires an additional some 50 part-timers a month. LBCI produces a variety of programs, among which Star Academy and The Farm, news, talk shows, programs for kids, a comedy Abdo & Abdo and weekly drama series such as Marti wa Anna and Familia.
Future TV has a staff of up to 500 and hires some 100 freelancers every month. Likewise, it produces big entertainment shows such as Superstar, Soccer Star, The Trap, news, talk shows, kids’ and sports programs.
Operating on an estimated annual budget of $15 million, Al Manar has some 300 employees, which includes bureaus and correspondents in Iran, Dubai, Jordan and Egypt. Other Lebanese channels generally employ between 100 and 200 people and operate on a budget of less than $10 million.
While some local drama and comedy series, Lebanese TV channels are hardly involved in the production in films, documentaries and drama series. It is the market leader in entertainment shows and, to a certain extent, talk shows. Egypt leads the way in terms of films and drama, followed by Syria, which produces hardly any films but up to 40 dramas a year. It is mainly regional channels such as Al Arabya and Al Jazeera that produce documentaries for an average price of $20,000 to $25,000 for a 50-minute film.
Having been closed for over 3 years, MTV is keen to reopen its doors and join the fray. With an estimated annual budget of up to $40 million, it aims to employ 550 people. While most of the staff of some 450 at the time of closure had to find work elsewhere, the MTV studios in Naccache were hired by other broadcasting companies, such as MBC, Al Hurrah, Manar and Rotana. The experiment was so successful, that MTV is currently constructing a second studio worth some $60 million.
Funding
Lebanese broadcasters rely first of all on advertisement revenue to pay for their annual budget, and hence for their production capacity. With the exception of LBCI and Future TV however, none of them actually breaks even. Total income from national TV advertisement in recent years decreased from some $90 million to $50 million a year. The regional advertisement market is where the money is, worth an estimated $300 million. Yet with over 150 regional broadcasters, competition is fierce. Most Lebanese channels are kept afloat by powerful backers for ideological reasons and, in the case of Manar and Telelumiere, by private donations.
Advertisement rates vary per channel, program and timing. A 30-second-ad on Future TV terrestrial costs $1500 to $5000, while the satellite rate amounts up to $7,000. Likewise LBCI charges $3,000 for a 30-second-ad between 7 and 8 PM, $6,000 during the news and $5,000 to $7,000 during the prime time evening programs. Mornings and afternoons are generally cheaper. Future TV works with its own advertisement department, while LBCI advertisement is in the hands of Audiovisual Media (AVM), part of the Choueiry Group, which takes a 40% cut from the brute revenues mentioned earlier.
LBCI and Future TV are able to break even, or actually make profit, mainly thanks to massively popular entertainment and reality shows. Take the ultimate LBCI hit Star Academy, in which rates for a 30 second clip in the show’s semi-finals and finals increase to $11,000. Revenue is further boosted by the exclusive sponsorship deal with Pepsi worth $8 million for two years. Similarly, the rates for Future TV’s Superstar final stages amount up to $12,000, while Lipton and Ford signed an exclusive sponsorship deal worth some $3 million a year. Last but not least, a significant part of revenue for reality TV shows and voting contests stem from Short Message Services (SMS).
Production houses
Lebanon boats a dozen or so of major production houses with up to 40 employees and tens of smaller ones. The major players include companies such as Intaj, Laser Film, Talkies, Signature, Vip Films, The Post Office, Independent Productions and Filmworks.
There are several post-production companies, most importantly VTR, that just opened an $8 million state-of-the-art facility, offering highly specialized (and expensive!) software to create animation characters and special effects, as were used in films like Shrek and Toy Story. Aim is to offer the stop from people going to Europe to acquire similar services.
Representing some 80% of the market, the big production houses mainly do TV ads, video clips, and corporate videos. Like TV broadcasters, their staff consists mainly of producers and administrative people, while creative, such as directors, cameramen, editors, are hired on a freelance base.
The major productions houses make on average three or four commercials a month, mainly for the Arab world. “If there were not for Saudi Arabia, we would all be out of job tomorrow,” one producer said. It is estimated commercials worth some $50 million a year are produced in Lebanon. The market for music clips is worth up to $25 million. Lebanon is regarded market leader, followed by Dubai, Egypt and South Africa, which rapidly captured a share of the Arabic market, as it offers European standards for a more affordable price In case of a TV commercial, it is generally the advertisement agency that comes up with concept, which the production house will execute. In case of a video clip, it’s the production house, in cooperation with artist and director, who create the clip.
Prices differ greatly, depending on the material being shot on film or video, the number of shooting days, and special effects. Throw in a famous actor or actress and prices will of course explode. So, Nicole Kidman reportedly received $12 million for a series of 30-second clips for Chanel No. 5.
(BOX)
Producing a TV commercial in Lebanon*
Format
Film $25.000 – $35,000/day
Video $15,000 – $25,000/ day
Genre
Music video $20,000 – $125,000
30-minute corporate video $20,000 – $70,000.
Personnel
Director (depending on reputation) $1,000 – $4,000/day
Director of Photography $1000 – $2500
Cameraman $150 – $500
Editor $80/day.
*In the case of 30-day TV series or show, a package deal will be agreed upon.
Sound & vision
Finally, as vision is nothing without a sound, a word on dubbing. Every foreign language film, documentary or TV series must be dubbed before it can be screened in Lebanon or the Arab world. There are some 5 major studios in Beirut specialized in dubbing. Specialized in dubbing cartoons and Mexican soaps, Filmali charges between $1,000 and $2,000 per episode. It employs some 20 to 30 actors on a freelance basis. For many Lebanese actors, dubbing is in fact the main source of income.