Hollywood
American Film Market sets new records in 35th edition with footfall of over 7,900
NEW DELHI: The 2014 American Film Market (AFM) saw a footfall of 7,946 in its eight-day 35th edition that concluded at the Loews Hotel in Santa Monica.
The AFM saw 1,670 buyers coming from over 70 different countries. Of the 794 registered buyer companies, 90 were new to the AFM. The market saw a 3 per cent increase and an uptick in overall buyers from last year, with a notable growth in buyers from Latin America (up 34 per cent) and Asia (up 8 per cent).
Overall exhibitor attendance was up 1 per cent from last year with 2,825 executives from exhibiting companies from over 40 countries, with the largest number of exhibitors coming from the United Kingdom, France and Japan, after the United States.
Overall industry attendees, the non-buyers and sellers that include Attorneys, Bankers, Festivals, Film Commissions, Filmmakers, Financiers, Post Production Facilities, Producers, Studio Facilities, and Writers finished at 2,624, up 1 per cent from last year’s numbers.
The repetition of strong attendance reflects the AFM’s expanded programs for production community including the Conference Series, Roundtables, Conversations, and Producers Forums. The AFM screened 432 films with 352 Market Premieres, 85 World Premieres and a total of 654 screenings across the AFM Campus in Santa Monica.
The five-day AFM Conference Series showcasing sessions on Financing, Pitching, Production, Marketing and Distribution featured global industry leaders including: Brett Ratner (producer), Cassian Elwes (Independent Producer), Tobin Ambrust (Exclusive), Mark Damon (Foresight Unlimited), Mark Gill (Millennium), Rena Ronson (UTA), Emanuel Nunez (Paradigm), Russell Schwartz (Relativity), John Sloss (Cinetic), and Nicolas Gonda (Tugg). The AFM Conference Series, which launched four years ago, hosted international audiences of more than 700 daily.
Hollywood
Disney to cut 1,000 jobs in major restructuring drive
Layoffs span ESPN, studios and tech as company pivots to growth
MUMBAI: The magic isn’t disappearing but it is being reorganised. The Walt Disney Company has announced plans to cut around 1,000 jobs as part of a sweeping restructuring effort aimed at sharpening its edge in an increasingly unpredictable entertainment landscape. The move, led by CEO Josh D’Amaro, reflects a broader internal reset as the company rethinks how it operates, allocates resources and competes in a fast-evolving industry. In a memo to employees, D’Amaro acknowledged the difficulty of the decision but framed it as a necessary step to ensure Disney remains “efficient, innovative, and responsive” to rapid shifts in consumer behaviour and technology.
The layoffs will span multiple divisions, including marketing, film and television studios, ESPN, technology teams and corporate functions. Notifications have already begun, signalling that the restructuring is not a distant plan but an active transition underway.
Importantly, the company has clarified that the cuts are not performance-driven. Instead, they form part of a wider transformation strategy aimed at building a leaner, more agile organisation, one better equipped to respond to streaming dynamics, digital disruption and evolving audience expectations.
The timing is telling. The global entertainment industry is in the middle of a structural shift, with traditional television revenues under pressure and box office returns becoming increasingly volatile. Meanwhile, streaming platforms and digital-first competitors continue to redraw the rules of engagement, forcing legacy players to rethink scale, speed and storytelling formats.
For Disney, long synonymous with blockbuster franchises and timeless storytelling, the pivot is both strategic and symbolic. The company is doubling down on technology, direct-to-consumer services and content ecosystems that align with modern viewing habits, where audiences expect immediacy, personalisation and cross-platform experiences.
Even as the restructuring unfolds, D’Amaro struck a note of optimism, reiterating Disney’s commitment to creativity and long-term growth. Support measures for affected employees are expected as part of the transition, though details remain limited.
In essence, this is less about cutting back and more about reshaping forward. As Disney redraws its organisational map, the message is clear, in today’s entertainment world, even the most magical kingdoms must evolve or risk being left behind.
